Episode 203 First Steps
by virtualdoe
Summary: The Phoenix Group comes closer to finding the The Staff.


> John Doe  
  
THE TRUTH WILL BE REVEALED......  
  
Virtual Season Episode #203. "First Steps"  
  
TEASER  
  
FADE IN:  
  
EXT. THE VATICAN, ROME - LATE AFTERNOON  
  
We can see the beautiful landscape of the Roman city. The   
afternoon sun shines over a lot of centuries old buildings   
that can be seen. The most noticeable being the instantly   
recognizable dome of The Vatican.  
  
INT. THE VATICAN DOME - LATE AFTERNOON  
  
We pan down the inside of the domed ceiling onto what many   
consider a very sacred altar. Beautiful statues of Christ   
on the cross, Saints and Angels can be seen around the   
walls as we move back from the altar. Many people can be   
seen walking about. Groups of Catholic Nuns and Priests   
can be seen walking to and fro. We also see tourists   
walking about, some with cameras, taking pictures or home   
video.  
  
Our attention then focuses to one particular catholic   
priest. A very serious man (early 30's), with thinning   
black hair. He is holding some papers in his hand and   
walking passed all of the people walking about. His name   
is Brother Angelo, a 6th year cardinal apprentice, well on   
his way to a bright future with the Church. He makes his   
way to a door which is locked and reserved for church   
personnel only. He produces what looks to be a key card   
and inserts it into a scanning lock on the door. A red light   
on the lock box switches momentarily from red to green,   
then Angelo pushes the door open and walks in.   
  
INT. VATICAN HALLWAY - LATE AFTERNOON  
  
We see Angelo walk down a hallway adorned with many   
beautiful works of art and statues. As he walks along he   
passes open windows along the wall which show a beautiful   
view of Rome. The young priest then turns and heads up a   
red carpeted curved stairway, passing a pair of catholic   
sisters walking down the opposite way. They each exchange   
pleasantries as they pass each other.  
  
Atop the stairs, Angelo walks through a set of double   
doors.  
  
INT. VATICAN OFFICE - LATE AFTERNOON  
  
Angelo closes the door behind him as he makes his way   
towards a large wooden desk at one end of a large office.   
This room is adorned with antique furniture and religious   
artifacts. Behind the large desk sits Cardinal Paulo   
Osticio, (mid 50's) head of foreign affairs and member of   
the Vatican's Papal Council. The cardinal is wearing his   
traditional red and black robes with rings on his fingers.   
He is working at his desk as Angelo stands in front of the   
desk with papers in hand.   
  
ANGELO  
Buon Pomeriggio, Padre.  
  
Cardinal Osticio looks up from his desk.  
  
CARDINAL OSTICIO  
Ciao Angelo. Che cosa voi hanno oggi   
per me?  
  
(Italian Translation Begins)  
  
ANGELO  
Here are some forms for you to sign,   
father.  
  
CARDINAL OSTICIO  
Are this all the arrangements for   
the Moroccan Prime Minister?  
  
ANGELO  
Yes Father, his visit is scheduled   
for next week.  
  
The Cardinal takes the papers from Angelo and begins to   
look them over. As the Cardinal begins to sign the papers,   
Angelo is looking at his superior with an almost restless   
stare. Cardinal Osticio takes notice of this by the unusual   
silence coming from Angelo.  
  
CARDINAL OSTICIO  
(looking up at   
Angelo)  
Is there something else Angelo?  
  
Angelo settles in his stands and takes a deep breath.  
  
ANGELO  
Yes Father....The Gentleman from the   
Holy Unity Foundation is here.  
  
Cardinal Osticio gives Angelo a confused look, not knowing   
right away of what his young apprentice is speaking about.  
  
ANGELO (CONT'D)  
I...spoke of him with you briefly   
last week. He represents a private   
Foundation seeking a working   
allowance with the Vatican.  
  
CARDINAL OSTICIO  
Oh Yes. The Organization asking for   
our cooperation on some kind of   
Historical Exhibit. Correct?  
  
ANGELO  
That's right Father. I took the   
liberty of arranging a private tour   
for him today. And I was hoping   
that you would have some free time   
in your schedule for a short   
meeting.  
  
Cardinal Osticio leans back in his chair with a slight look   
of surprise.  
  
CARDINAL OSTICIO  
You want ME to meet with this   
man?... I'm curious, this man should   
be speaking with one of our   
information secretaries first. You   
know that.  
  
ANGELO  
Yes, I know Father but...  
  
CARDINAL OSTICIO  
The Vatican receives thousands of   
these business offers every year.   
There are procedures to follow   
Angelo.  
  
ANGELO  
But Father, I've met with this man.   
And I think the organization he   
represents has something beneficial   
to offer the Church.  
  
Cardinal Osticio produces a slight smile.  
  
CARDINAL OSTICIO  
I have to say. I'm kind of   
surprised at your impulsive behavior   
Angelo. In the time that you've   
been here, I've never seen you take   
this kinds of liberties.  
  
Angelo becomes embarrassed at the accusation.  
  
ANGELO  
Father, I ask for your forgiveness   
for my behavior regarding this   
matter.  
  
CARDINAL OSTICIO  
(raising his hand   
to ease his   
suffering)  
Its all right Angelo, there's little   
difference between impulsiveness and   
initiative. And I encourage   
initiative from our people.  
  
ANGELO  
(looking a bit   
relieved)  
You are most kind, Father.  
  
CARDINAL OSTICIO  
Now, why don't you refresh my memory   
and tell me more about what this   
Holy Unity Foundation is all about.  
  
ANGELO  
Yes Father. This organization is   
privately funded with consortiums   
reaching over 24 countries. They   
want to create an organized   
Christian network, based on solid   
morals that they believe have been   
suppressed by the whole of mankind.   
They want to start at the roots of   
Christianity Father. And that's why   
they want our help.  
  
The Cardinal looks on with a pensive facade. At that same   
moment the doors to his office open and in walks a young   
woman. The young nun stands behind Angelo as he finishes   
his speech.  
  
ANGELO (CONT'D)  
They're asking for our permission to   
access to our archives, to our   
antique vaults, they wish to catalog   
and maybe even produce a type of   
exhibit which would show the world   
the history and beauty of our   
religion.  
  
CARDINAL OSTICIO  
But we already have that here. We   
have always shown pride in exposing   
our history to the world.  
  
ANGELO  
Yes Father, but the Holy Unity   
Foundation has the means to expand   
beyond our Christian borders. They   
can go into countries and places   
where our reach has grown thin. And   
they want to compensate us for this   
effort.  
  
CARDINAL OSTICIO  
All right. I can see why you are so   
taken by this opportunity. If they   
have the kind of political power,   
maybe we should do some research on   
this organization.  
  
Angelo hands the Cardinal a set of papers.  
  
ANGELO  
I've already done some research for   
you Father. And I think you'll be   
pleased.  
  
Cardinal Osticio is even more impressed at Angelo's   
efforts.  
  
CARDINAL OSTICIO  
Well, I have to say Angelo. I am   
completely taken back by your   
initiative.  
  
With that the Cardinal motions to the young nun waiting   
behind Angelo.  
  
YOUNG NUN  
Excuse the interruption Father.   
Father Angelo's guest is waiting   
outside.  
  
CARDINAL OSTICIO  
(looking at Angelo)  
My God, it HAS been a day full of   
surprises.  
  
ANGELO  
I'm sorry Father. I just believed   
that this would be a great   
opportunity for you to meet this   
amazing man. But, if you think this   
to be inappropriate...  
  
CARDINAL OSTICIO  
(gesturing to   
Angelo)  
No its all right. I have to say   
that I WOULD like to meet the man   
who has managed to impress you this   
way.  
  
The Cardinal then changes his gaze towards the young nun.  
  
CARDINAL OSTICIO (CONT'D)  
Please show our gracious guest in,   
sister.  
  
Angelo smiles and lowers his head slightly in appreciation.   
We then pan back to the young sister who has already opened   
the entrance door to the office and after a few seconds in   
walks a man wearing an expensive business jacket . We switch   
angles as the man walks towards Angelo and the Cardinal,   
who has risen from his chair out of respect for his guest.   
We can only see the man from behind as he stops in front of   
Angelo.  
  
ANGELO  
(smiling and   
turning to the   
Cardinal)  
Father Osticio, I present to you,   
Mr. Donovan Waverly, Vice President   
of The Holy Unity Foundation.  
  
At that moment we see the mysterious guest come into focus.   
It is none other than the man we now know as Samuel, high   
level operative of the Phoenix Group and once known to John   
Doe as simply Digger. The Cardinal smiles and extends his   
hand, showing the ring of his order on his finger.  
  
SAMUEL  
(after kissing the   
Cardinal's ring)  
It is a pleasure to finally meet you   
Cardinal Osticio. My people and I   
are great admirers of you and your   
work for the Church.  
  
(Italian Translation Ends)   
  
We hold on Samuel's smiling face with Father Angelo looking   
on.  
  
FADE OUT.  
  
ACT ONE.  
  
FADE IN:  
  
EXT. UNKNOWN BUILDING - NIGHT  
  
Rain is pouring down as thunder and lightning light up the   
night in front of a old style concrete building. We pan   
down to the figure of a man standing in the rain, looking   
in the direction of the building. We switch angles to see   
that it is John Doe. He's wearing a T-shirt and jeans,   
with no shoes on.  
  
Doe looks around as he slowly walks towards the building.   
He looks disoriented, trying to figure out where he is.   
Everything is dark, lit only when lightning and thunder   
sound off. As Doe makes his way to the building he notices   
a statue to his left. The statue is of what looks to be   
the Virgin Mary. Doe turns and makes his way to the   
statue.  
  
Doe walks up to it, still not sure why or where he is. As   
he looks upon it, he notices a plaque with an inscription   
written on it. We see Doe come closer to the plaque, then   
lightning flashes and we finally see the inscription. It   
reads: "Oh Holy Mother, Consoler of the afflicted".  
  
At that moment, the door to the old building busts open.   
Doe turns around and looks towards the open door. He sees   
nothing and no one coming out. Doe then proceeds to the   
door, cautiously looking about for any more surprises. He   
looks back one more time before stepping inside.  
  
INT. UNKNOWN BUILDING - NIGHT  
  
Doe is soaking wet and looking around as he comes to find   
that he is standing inside a church. Outside, thunder can   
be heard and lightning flashes through the windows. He   
sees no one in sight.  
  
JOHN DOE  
(looking around)  
Hello?...Is any one here?  
  
Doe continues to look around the church pulpit. He then   
takes notice of someone seated in the front row, facing the   
altar. Doe slowly moves towards the front row.  
  
JOHN DOE (CONT'D)  
Hello?  
  
We see the back of the person in the front row. We can   
tell that it is a woman, but her face is still hidden. As   
Doe gets closer the female figure turns to face him, and we   
come to see that it is Karen. Doe reacts in surprise as he   
sees the face of his deceased friend.  
  
JOHN DOE (CONT'D)  
Oh my God... Karen?  
  
Doe wipes away the water from his face to see her better.   
Karen looks up at him, just smiling.  
  
KAREN  
Hi J.D.  
  
Doe moves closer to her and takes a seat next to her.  
  
JOHN DOE  
Karen!? Is it really you? I'm   
dreaming this?  
  
KAREN  
Your time is running out John. You   
have to solve the puzzle. They   
don't want you to know, but you have   
to know. You have to know   
everything before the end comes.  
  
JOHN DOE  
Karen..I don't understand. Why are   
you here? What is this place?  
  
KAREN  
(smiling softly)  
He's found you John. It was meant   
to be. Now you have to follow the   
trail to the end.  
  
Doe looks confused, he's about to say something when Karen   
gets up and proceeds to walk slowly towards a side door   
near the altar. She's in the same dress she was wearing   
the night she was taken by the Phoenix Group. She seems to   
be enveloped in a pale heavenly light. Doe gets up and   
follows her.   
  
JOHN DOE  
No, wait. Please don't go.   
Stay...please stay.  
  
Karen stops in front of the closed door. Doe stops behind   
her. She turns to him with a smile.  
  
KAREN  
Its begun John. Follow the clues,   
solve the puzzle.  
  
Karen turns towards the door and opens it. She then   
proceeds to walk through the doorway and disappear into the   
darkness behind it.  
  
JOHN DOE  
Karen?! Wait!  
  
Doe follows her through the door.  
  
CUT TO:  
  
INT. UNKNOWN HALLWAY - NIGHT  
  
We see Doe walking down a dark hallway. Thunder can still   
be heard outside. There are a series of doors along the   
way, no one else can be seen. Doe is looking around and   
trying to open some of the doors, but so far each one he   
tries is locked. Suddenly, he hears what sounds to be a   
woman wailing down the hall. Doe begins running down the   
hall, we hear his bare feet screeching on the linoleum   
floor as he turns the corner.  
  
JOHN DOE  
KAREN!!..WHERE ARE YOU!!!  
  
Doe then notices an open door down the hallway and proceeds   
to run inside.  
  
INT. UNKNOWN ROOM - NIGHT  
  
Doe runs through the doorway and is shocked at what he   
sees. We switch angles to see 5 bodies lying around the   
room floor. They've been bludgeoned and beaten to death.   
Doe grimaces at the horrific site before him. He then   
hears the wailing sound of a woman's voice again. Doe sees   
an open doorway inside the room and runs through it.  
  
INT. UNKNOWN BEDROOM - NIGHT  
  
Inside Doe sees a bedroom in disarray. The bed has been   
overturned, clothes and other objects litter the room   
floor. Doe looks around the room a bit, when suddenly he   
notices a figure scrunched up in a corner of the room. It   
is the figure of a young woman, her clothes look ripped and   
she looks to have been beaten as well. She is conscious   
and half her face has blood on it. He can hardly make out   
her features because she is covering her face and most of   
the room is in darkness, except for a lamp light on the   
nightstand next to her. Doe tries to console her as he   
slowly moves towards her.  
  
JOHN DOE  
Its ok. I'm here to help you. Who   
did this to you?  
  
The young woman doesn't take notice of Doe. She has her   
face hidden in her hands, which are bound by tape. She   
then looks up from her hidden gaze. Doe sees her face for   
the first time under the bedroom's lamp light. She's   
young, looks to be in her early 20's. Suddenly she lets   
out a loud scream as she looks towards the doorway to the   
bedroom, behind where Doe is standing. Doe turns to see   
the dark figure of a man standing in the doorway. His face   
is hidden in the dark silhouette of the doorway, but we can   
tell he has a large knife in his right hand.  
  
JOHN DOE (CONT'D)  
(to the dark   
figure)  
YOU LEAVE HER ALONE!!.  
  
Doe begins to move towards him. But the dark figure, like   
the young victim does not notice him at all. Suddenly Doe   
hears a voice.  
  
KAREN  
Wait.  
  
Doe turns to Karen who has just appeared standing on the   
opposite corner of the room.  
  
JOHN DOE  
What?...But..  
  
KAREN  
Just wait, and watch carefully.  
  
Doe complies as he turns back to see the killer beginning   
to move closer to the young victim lying on the floor. Doe   
can barely watch as the killer moves closer and closer. We   
see the young woman reacting to this by wailing louder and   
louder with a look of complete fear in her eyes.  
  
JOHN DOE  
(to Karen)  
He's going to kill her.  
  
KAREN  
Wait John! Watch.  
  
We see the killer just about to strike his victim. Then   
the young woman's face suddenly turns from fearful to one   
of determination.  
  
CLOSE ON - VICTIM'S FACE  
  
YOUNG WOMAN  
(staring at her   
attacker)  
No....NOOOOOOOOOO!  
  
The victim's voice seems to change into a deep sounding   
thunderous scream which LITERALLY begins to shake the   
entire room as if there was a train about to hit it head   
on. All kinds of things begin to fall over to the ground  
as if an earthquake was shaking ther room apart.  
Just then, Doe sees the killer stop in his tracks.   
The killer begins to slowly back away. He then drops his   
knife on the floor as he raises his hands to his head and   
lets out a blood curling scream of pain. As he does so, he   
continues to back away looking around the room and then   
stumbles out the doorway, fleeing in terror. Doe just   
stands there, not understanding what he just saw. He then   
turns towards Karen. She stares back at him. The killer's   
young victim has stopped screaming and hidden her face in   
her hands again.   
  
JOHN DOE  
(to Karen)  
What happened?  
  
KAREN  
She beat him.  
  
JOHN DOE  
(turning his gaze   
toward the young   
victim)  
How?  
  
KAREN  
That's what you need to figure out.  
  
Doe looks at the young victim's face. She is in shock and   
panting heavily, still not noticing Doe or Karen in the   
room. He then looks back at Karen.  
  
JOHN DOE  
(to Karen)  
I don't understand any of this.  
  
KAREN  
Time to go now.  
  
With that, the pale light that was once surrounding Karen   
begins to expand around the room. Doe can just watch.  
  
JOHN DOE  
No wait. Karen?.... I need to know   
why.  
  
The light becomes really bright now, slowly fading   
everything in the room to white.  
  
CLOSE ON - KAREN'S FACE  
  
KAREN  
Solve the puzzle John, and you WILL   
know.  
  
Everything turns to white.  
  
CUT TO:  
  
INT. DOE'S LOFT APT - DAY  
  
CLOSE ON - DOE'S FACE  
  
We see Doe's eyes open. He looks around for a few seconds   
before realizing that he's awake. We pull back to see that   
he was sleeping with the same shirt and pants he had in his   
dream. He sits up on his bed and turns to put his feet on   
the floor. He sits on his bed for another few seconds,   
wiping his face and eyes with both hands. Then he stares   
ahead. Its early morning.  
  
JOHN DOE (V.O.)  
(getting up from   
his bed)  
Another weird dream. Being getting   
a lot of those lately. But this one   
was different. Before, I've been   
seen flashes of different images,   
like a news reel. This one actually   
had a message.  
  
Doe walks to his kitchen and begins fixing himself a cup of   
tea.  
  
JOHN DOE (V.O.) (CONT'D)  
Why do I keep seeing Karen? Is it   
so that I can remember my dreams   
better? In his Book, "Simple   
Dreaming", Dr. Robert Hues claims   
that dreams represent messages that   
our subconscious mind interprets and   
projects to us. Anything from our   
everyday lives or the lives of   
people close to you is fair game.   
Our past, present or even our future   
can be used in our dreams as some   
type of catalyst. All we have to do   
to understand our dreams is learn to   
distinguish the mundane ones from   
the ones that have a relevant   
meaning behind them.  
  
After finishing mixing in his tea bag with a cup of hot   
water, he grabs the cup and takes a swig. Doe then   
proceeds to his private study.  
  
INT. DOE'S PRIVATE OFFICE - DAY  
  
Doe walks into his familiar office. All kinds of pictures   
are pasted on the walls. He puts his cup down before   
taking a seat behind his computer. On each monitor, there   
is a series of searches being conducted on line. Doe looks   
unshaven and sleepless.  
  
JOHN DOE (V.O.)  
Thomas Anderson. My only solid   
clue, thanks to Theresa. If that is   
my real name, there are 31,042   
different Thomas Andersons in the   
United States alone. Excluding age   
brackets and physical descriptions,   
it still leaves me with 11,478   
possible identities.  
  
Doe focuses on another of his on line searches. We see a   
monitor screen showing documents and pictures of newspaper   
headlines and crime scene photos.  
  
JOHN DOE (V.O.) (CONT'D)  
The Avatar killer. A 3 decade old   
murder investigation. 49 victims in   
5 years. Only one survivor.....  
  
We see his finger clicking his mouse and a black and white   
crime scene picture appears on the screen showing the front   
of the building of "The Our Lady of Perpetual Help"   
Convent. The site of Avatar's first known attack.  
  
JOHN DOE (V.O.) (CONT'D)  
One 23 year old female survivor. No   
published picture of the victim.  
  
JOHN DOE (INT P.O.V.)  
  
---Flash image of the young victim in Doe'ss dream. Close   
up of her face.  
  
Back to Doe sitting behind his computer.   
  
JOHN DOE (V.O.) (CONT'D)  
Is she the woman from my dream?...Is   
she the same woman I saw when that   
psychopath laid his hand on me?  
  
JOHN DOE (INT P.O.V.)  
  
---The Avatar killer kneeling over a helpleess Doe. A bare   
hand being placed on his forehead.(See episode #202   
"Unexpected and Wanting")  
  
Back to Doe sitting behind his computer.   
  
JOHN DOE (V.O.) (CONT'D)  
Thomas Anderson....Avatar...that   
young woman. Is there a connection?  
  
Doe sits back on his chair with fingers crossed under his   
chin. He looks over to the wall on his right side. Pasted   
on it, is his sketched drawing of Theresa. One he drew to   
remember her face some time ago.   
  
JOHN DOE (V.O.) (CONT'D)  
For someone who I'd hoped would give   
me some answers, she's sure not   
given me much to go on. Why?   
What's Theresa hiding from me? Is   
she afraid to tell me? Or Is she   
stalling for some reason?  
  
Doe hits the mouse click button again. He looks over the   
crime scene photos again. He focuses on one in particular.   
Another picture of the The Perpetual Help Convent. This   
one is showing a broken stained glass window, the point of   
entry that Avatar took to enter the building. In the   
background Doe sees something familiar to him. It is a   
statue of the Virgin Mary. A spitting image of the one he   
saw in his dream.  
  
JOHN DOE (CONT'D)  
(under his breath)  
Solve the puzzle.  
  
At that moment, there is a knock at Doe's door.  
  
INT. DOE'S LIVING ROOM - DAY  
  
We see Doe make his way to his front door. After peeking   
through the peep hole, he unlocks the door and pulls it   
open. Doe is surprised to see Mrs. Rose Nichols standing   
in his doorway with her daughter Jenny. The little girl   
that Doe help find when she was taken by her father. It   
was Doe's first case for the Seattle Police Department.   
  
MRS. NICHOLS  
Mr. Doe, Hi. I was hoping you were   
home.  
  
JOHN DOE  
(a little   
surprised)  
Mrs. Nichols. Um... How are you?  
Hello Jenny!  
  
The little girls smiles as she hides behing her mother.  
  
MRS. NICHOLS  
(a bit embarrased)  
I know this might seem....I don't   
know...awkward.  
  
JOHN DOE  
No..please don't be silly....Would   
you like to...  
  
JENNY NICHOLS  
(smiling)  
Its the mystery man momma!!  
  
Mrs. Nichols looks down at her daughter.  
  
MRS. NICHOLS  
No sweetheart, this is Mr. Doe.  
  
Doe smiles down at the little girl.  
  
MRS. NICHOLS (CONT'D)  
Sorry, it's sort of what she's been   
calling you lately.  
  
JOHN DOE  
(smiling)  
Its all right. Won't you come in?  
  
MRS. NICHOLS  
Yes, thank you.  
  
Mrs. Nichols and her daughter walk into Doe's living room,   
where he gestures for them to have a seat. After she and   
her daughter sit on his couch, Doe stands nearby.  
  
JOHN DOE  
(to his guests)  
Would you like something to drink?  
  
MRS. NICHOLS  
No thank you. We won't take much of   
your time.  
  
JENNY NICHOLS  
(all excited)  
Orange Juice!  
  
MRS. NICHOLS  
(placing her hand   
on her daughter)  
Jenny!!  
  
JOHN DOE  
One glass of O.J. coming up.  
  
Doe proceeds to go into his kitchen and opens his   
refrigerator. Mrs. Nichols and Jenny are still seating in   
the living room watching.  
  
JOHN DOE (CONT'D)  
(from his kitchen)  
You know, 78% of kids between the  
ages of 6 and 12 prefer Orange Juice over  
Milk.  
  
MRS. NICHOLS  
(smiling)  
Wow, I didn't know that....Um....  
Mr. Doe, I hope you don't mind, but   
I got your address from the Seattle   
Police Dept. At first, I was going   
to leave you a message, but then I   
decided that it would be best if I   
came to see you.  
  
Doe comes back from the kitchen with a glass of juice in   
his hand. After he gives it to Jenny, he sits across from   
Mrs. Nichols.  
  
JOHN DOE  
No it's fine. It's a nice surprise.   
What can I do for you ladies?  
  
Mrs. Nichols then reaches into her purse and pulls out a   
wad of papers she's been carrying.  
  
MRS. NICHOLS  
First, I'd like to thank you again,   
for everything you did for us. And   
for my husband. It took me a while   
to understand why he did what he   
did, but now I know that he just   
wanted to be with his daughter. He   
also told me what you did for him.   
It meant a lot. He wanted you to   
know that.  
  
Mrs. Nichols and Doe both look at Jenny who is smiling and   
taking swigs from her glass of juice while she is drawing   
a picture with her 3 crayons on a coffee table nearby.  
  
JOHN DOE  
I was glad to help.  
  
MRS. NICHOLS  
The other reason we came was that..   
um... I'm not sure how this is going   
to sound to you. But lately, Jenny   
has been having this recurring   
dreams. Dreams that I think might   
have something to do with you.  
  
Doe's face immediately turns serious and intrigued.  
  
MRS. NICHOLS (CONT'D)  
At first I didn't know it was you   
she was dreaming about. She kept   
saying the mystery man this, the   
mystery man that. It took me a   
while to make the connection. And   
when she started drawing these, I   
got a little concerned.  
  
Doe takes a series of drawings from Mrs. Nichols' hand. He   
begins to look them over. Each drawing shows certain   
things that little girls don't normally draw during play   
time. Images that look like burning buildings, army tanks   
and planes dropping bombs. Burning buildings and people   
hurt or dead.  
  
JOHN DOE  
Mrs. Nichols, I can see why this   
would worry you. Are you sure these   
are images from her dreams, not from   
a movie or news program.  
  
MRS. NICHOLS  
No, I thought the same thing too.   
Believe me, I had a long talk with   
her school teacher and her friends'   
parents before I came here. These   
drawings began first, but then she   
began to draw more specific things.  
  
Mrs. Nichols points out one of the drawings. Her finger is   
pointing at a female figure in a dress.  
  
MRS. NICHOLS (CONT'D)  
Jenny told me that a young girl   
began to appear in her dreams. A   
girl in a pretty dress. She said   
her name was Karen and that she had   
died.  
  
Doe's eyes become wider in surprise.  
  
MRS. NICHOLS (CONT'D)  
Jenny then said that Karen was your   
friend. The mystery man. And that   
she wanted Jenny to tell you   
something. Something important.  
  
Doe is in complete amazement. Something seemed to be going   
on and he didn't know what.  
  
MRS. NICHOLS (CONT'D)  
Mr. Doe, did you know a young girl   
named Karen?  
  
Doe nods as he looks at both Jenny and her mom. His mouth   
is mildly open with surprise.  
  
MRS. NICHOLS (CONT'D)  
(lowering her voice   
so that her   
daughter won't   
hear)  
Is this girl... dead?  
  
JOHN DOE  
(in a low voice)  
She was my friend. She was killed 3   
months ago.  
  
Mrs. Nichols puts her hand over her mouth.  
  
MRS. NICHOLS  
Oh my God....That's about the same   
time her dreams started. I thought   
this was all because of her father   
coming back. But now.... Mr. Doe   
wants happening to her?  
  
JOHN DOE  
Its Ok Mrs. Nichols. You did right   
coming to see me. I don't think   
this is something for you to be   
worried about. But I do think that   
Jenny is a very special little girl.  
  
At that moment, Jenny gets up from her spot in front of the   
coffee table and runs up to Doe with her latest drawing in   
her hand.  
  
JENNY NICHOLS  
I made this for you.  
  
Doe takes the drawing, which shows a strange likeness to   
him and the image of figure in a dress next to him. The   
drawing also shows rain clouds and thunderbolts. And what   
looks to be a building with a cross on top of it in the   
background.  
  
JOHN DOE  
(smiling at Jenny)  
Oh thank you Jenny. That's a very   
pretty picture.  
  
Doe then looks over at Mrs. Nichols who is smiling with a   
worried face. Then he looks back at Jenny.  
  
JOHN DOE (CONT'D)  
Honey, your mommy said that a girl   
in a pretty dress gave you a message   
for me.  
  
JENNY NICHOLS  
(nodding)  
Yep. Karen. She's my friend.  
  
JOHN DOE  
That's right. She's my friend too.   
My best friend...Do you remember   
what she told you sweetheart?  
  
JENNY NICHOLS  
(thinking hard)  
Ah Ha...She said that....we don't   
have enough time...and...Solve the   
puzzle.  
  
Doe stares at Jenny as she walks back to her mom and gives   
her hug. Doe looks at them both with a more concerned look   
that he had when he woke up this morning.  
  
CLOSE ON - DOE'S FACE  
  
FADE OUT.  
  
ACT TWO.  
  
FADE IN:  
  
INT. THE VATICAN, ROME - EARLY EVENING  
  
We pan down to a wide hallway, with beautiful marble   
floors. Vatican personnel can be seen walking back and   
forth, then we move in to Father Angelo walking with the   
man he knows as Mr. Donovan Waverly, but we know him as the   
mysterious Samuel.  
  
(Italian Translation Begins)  
  
ANGELO  
(to Samuel)  
And this is our Library Wing. A   
host to hundreds of thousands of   
books and manuscripts dating back to   
the 4th century.  
  
SAMUEL  
(looking around)  
Fascinating...simply fascinating.   
So this whole section of the Vatican   
houses some of Christianity's first   
works of Literature. A priceless   
treasure.  
  
ANGELO  
Indeed. All kindly preserved and   
closely guarded I might add.  
(pointing to a pair   
of Vatican Guards   
standing close by)  
  
SAMUEL  
(noticing the   
guards)  
I see. I've always heard of how   
tight Vatican security is.  
  
Samuel then gestures to a set of double sealed doors with a   
guard's desk in front of it. Both Samuel and Angelo stop   
right in front of the set of tightly guarded doors.  
  
SAMUEL (CONT'D)  
So, is this the end of our tour?  
  
ANGELO  
I'm afraid so Mr. Waverly. This is   
the main entrance to our Vaults.   
Access is strictly prohibited. Very   
few people have access to this   
doors. All part of our security   
network. You understand.  
  
Samuel looks at the set of guards watching the doors with a   
momentary serious glare. The guards stare back at him with   
cold, serious stares. He then glances back at Angelo with   
a pleasant look.  
  
SAMUEL  
Of course I understand. The   
Vatican's tight security is part of   
the church's mystique.  
  
Samuel then looks back at the doors.  
  
SAMUEL (CONT'D)  
But it is a pity that we cannot   
continue into the vaults. I'm sure   
there are some incredible pieces of   
Christian artwork and artifacts   
within. Things the Holy Unity group   
could do wonders with. Perhaps   
something to look forward to.  
  
ANGELO  
I assure you Mr. Waverly. Father   
Ostacio was very much impressed with   
your presentation. I believe that   
your organization is precisely what   
The Vatican has been searching for   
in a business partnership. And I   
think the Cardinal will see that in   
time.  
  
Angelo continues to talk about the Cardinal as Samuel   
smiles and begins to glance back at the double doors. At   
that same moment, those same doors begin to open and the   
guards part ways. Then we see Father Dominick Parsento   
(late 60's) walking out as he places his security card back   
into his pocket and proceeds to sign out on the guards log   
book. Father Dominick looks older than his years. He has   
long bushy white hair and his clothes need tailoring. To   
see him you wouldn't think that he was one of the most   
respected figures in the church. He exchanges pleasantries   
with the guard behind the desk as we see the double doors   
mechanically shut close behind him. Samuel has taken   
notice of this and of Father Dominick. The old priest then   
begins to make his way in the direction of Father Angelo   
and Samuel.  
  
ANGELO (CONT'D)  
(to Father   
Dominick)  
Ah!, perfect timing Father Dominick.  
  
FATHER DOMINICK  
(with a jolly   
smile)  
Angelo my boy! What brings you down   
here to our "dungeons".  
  
ANGELO  
(gesturing to   
Samuel)  
Well Father, I'm acting as one of   
our tour guides today. I'd like you   
to meet Mr. Donovan Waverly.   
He represents a very generous   
organization who wants to work with   
our church.  
  
Samuel pleasantly extends his hand to Father Dominick.  
  
SAMUEL  
It is a pleasure to meet you Father   
Dominick.  
  
The wise old priest extends his hand to meet Samuel's.  
  
FATHER DOMINICK  
The pleasure is all mine Mr.   
Waverly.  
  
CLOSE ON - BOTH HANDS TOUCHING  
  
At that exact moment, when the priest's hand and Samuel's   
touch, a strange feeling comes over Father Dominick.  
  
CLOSE ON - FATHER DOMINICK'S FACE  
  
Time all of a sudden seems to slow down for Father   
Dominick. His face turns from a pleasant smile to one of   
seriousness and fear.  
  
FATHER DOMINICK (P.O.V.)  
  
---Samuel's smiling face suddenly goes fromm normal looking   
to creepy. His eyes suddenly sink and disappear into their   
sockets, leaving Samuel with two black holes for eyes.  
  
---Samuel's face then grows pale in color aand we see towers   
of firing flames rise from behind him, with the sounds of   
people screaming in terror.  
  
Father Dominick quickly snatches back his hand from   
Samuel's. The old priest lets out a small breath of air,   
clearly shaken by the experience which only took a split   
second. Samuel's face turns from pleasant to one filled   
with intrigued at the priests reaction. As if Samuel felt   
something as well. He then smiles at the priest to hide   
his reaction.  
  
ANGELO  
(with an intrigued   
face)  
Are you all right Father?  
  
Dominick stops staring at Samuel and looks back at Angelo.  
  
FATHER DOMINICK  
(slightly panting)  
Yes... Yes I'm fine. Please excuse   
me... I..have to get ready for   
evening mass....  
(looking back at   
Samuel)  
It was nice meeting you Mr. Waverly.  
  
FATHER DOMINICK (CONT'D)  
(to Angelo)  
Good night Angelo.  
  
Father Dominick begins to walk away almost immediately.   
Leaving Angelo and Samuel looking at the priest walking   
away.  
  
SAMUEL  
(to Dominick)  
Hope to see you again soon, Father.  
  
Father Dominick gives them one last pleasant farewell look   
as he makes his way down the marble hall. We see that his   
look turns to one of worry as soon as he looks away from   
both men. We see Samuel's eyes hold a sense of wonder and   
curiosity that we have seen before.  
  
ANGELO  
(looking at Samuel)  
You'll have to excuse Father   
Dominick. He can be a bit eccentric   
at times, but he is truly one of the   
most respected clergymen in his   
order. He's a very wise man,   
knowledgeable in many of our old   
ways. Truly a dying breed.  
  
SAMUEL  
I understand. And what does Father   
Dominick do for the church?  
  
ANGELO  
He oversees our Archives. Organizes   
the restoration of some of our   
oldest works. Translates old   
manuscripts. But his true passion   
comes in the preservation and care   
of our most treasured artifacts. As   
I said, a truly remarkable man.  
  
With that Samuel looks back in the direction Father   
Dominick walked off.  
  
SAMUEL  
(with a slight   
smile)  
Yes. A remarkable man.  
  
(Italian Translation Ends)   
  
CLOSE ON - SAMUEL'S SMILING FACE  
  
CUT TO:  
  
EXT. SUBURBAN STREET - DAY  
  
We see Doe's Shelby Cobra turn the corner into a familiar   
street, where children are playing street hockey and riding   
their bikes. The sporty convertible comes to a stop in   
front of a familiar house. Sarah Parkinson's house, where   
Theresa rents a room. We see Doe put the car in park and   
shut off the engine. He then remains seated in his car,   
staring at the house.  
  
JOHN DOE (V.O.)  
When this strange dreams began, I   
thought they were a product of my   
subconscious. But now I have proof   
that it appears as if something or   
someone is trying to tell me   
something through other people's   
subconscious as well. I'm being   
shown a path of some sort. All I   
have to do is decide whether to open   
myself to the possibility of   
something totally inexplicable. But   
now that I think about it, the   
unexplained has been a part of me   
ever since I can remember.  
  
Doe opens his car door and steps out onto the sidewalk in   
front of Sarah's home. As he makes his way to the front   
steps, Doe notices that someone is working in the garden on   
the side of the house. Doe makes his way towards the side   
of the house. We switch angles to see Sarah knelt down   
with a gardening shovel digging out holes in order to plant   
some new roses. We see Doe walk up behind her.  
  
SARAH  
(noticing Doe with   
a smile)  
Well..,well. I was beginning to   
wonder if you'd be coming back.  
  
JOHN DOE  
(smiling)  
Hi Sarah. It's good to see you.  
  
Sarah stands up with gardening tool in hand.  
  
SARAH  
If I didn't know any better, I'd say   
you were playing hard to get with a   
certain someone we know.  
  
JOHN DOE  
I know. I've sort of   
been....occupied.  
  
Sarah picks up some of her other tools and proceeds to walk   
towards the front of the house.  
  
SARAH  
(with a sly smile)  
Ah, I swear, you men are all the   
same. Always looking for the right   
angle, instead of just following   
what's in here.  
(tapping Doe's   
chest with her   
hand)  
  
Sarah walks pass him as Doe turns and begins to follow her   
towards the front of the house. As they both walk around   
the side of the house, someone appears standing on the   
porch above them.  
  
THERESA  
(smiling)  
Welcome back.  
  
Immediately Doe takes notice. A refreshing smile fills his   
face instantly. Sarah just stands by with a look of   
enjoyment on her face.   
  
JOHN DOE  
(looking up at   
Theresa)  
Hi.  
  
CLOSE ON - THERESA'S SMILING FACE  
  
INT. SARAH'S HOUSE - DAY  
  
Theresa is walking up the stairs to the second story of the   
house. Doe is following close behind.  
  
THERESA  
I was starting to wonder if you   
had disappeared again.  
  
JOHN DOE  
Sorry,..I've been dealing with some   
strange new ...developments this   
last 2 weeks.  
  
Theresa stops and turns to look at Doe in front of an open   
door down the second story hallway.  
  
THERESA  
(with a smiling   
look)  
I'm I one of those developments?  
  
Doe looks at Theresa with a little embarrassment.   
  
JOHN DOE  
You could say that, yes.  
  
Theresa continues to smile as she then opens the door.   
She steps through the door, followed by Doe.  
  
INT. THERESA'S APT - DAY  
  
Doe is standing inside a pretty spacious boarding room. It   
clearly looks as if there were originally 2 bedrooms that   
were converted into one studio apt. Theresa closes the   
door behind her as she walks over to her closet.  
  
THERESA  
(to Doe)  
Have a seat.  
  
Doe looks around a bit as he sits on a small love seat in   
the room  
  
THERESA (O.S.) (CONT'D)  
(from inside her   
closet)  
I've been pretty busy this couple of   
weeks too you know. Trying to get back  
to my old routine.  
  
JOHN DOE  
That's good.... And what is that   
exactly?  
  
Theresa steps out of her walk-in closet with a scrapbook in   
hand. She then takes a seat next to Doe.  
  
THERESA  
Well...I've been volunteering at the   
Whole Life Recovery Center.  
  
JOHN DOE  
Part of the Outreach Help-Center   
Network. Founded in 1985 by Dr.   
Laura Beckett.  
  
THERESA  
(with a slight   
smile)  
Sounds about right.  
  
What follows is several seconds of silence. Theresa and   
Doe just look at each other, each seemingly happy to see   
the other.  
  
JOHN DOE  
I....wanted to see you. But there   
are just some things about us that   
I'm still confused about. You asked   
me to give you some time to think   
about it. So I did. And now,...  
  
THERESA  
You want to know if I've decided to   
tell you about Thomas Anderson.  
  
Doe looks down to his hands, as if ashamed to bring this   
up. Theresa immediately puts her hand over his in a   
gesture of understanding.  
  
THERESA (CONT'D)  
Hey..it's Ok.... I have been doing   
some thinking. About everything   
that has happened. And I've decided   
that, despite of how dangerous it   
might be, you deserve to know   
everything about us.  
  
JOHN DOE  
(settling in his   
seat)  
Theresa...I know that after what   
you've been through, the last thing   
you want to do is take any more   
risks. But believe me...  
  
THERESA  
(standing up)  
No Tommy...is not about that.  
  
Theresa gets up and walks to the other end of the room. Holding the   
scrapbook close to her chest. Doe just sits and watches.   
Theresa walks over to her window, looking outside.  
  
THERESA (CONT'D)  
(looking outside)  
When I look at you, I can't see or   
feel the same man I knew 3 years   
ago. I really miss him. We had   
something very special. I just wish   
you could remember it with me.  
  
Theresa turns to look at Doe.  
  
THERESA (CONT'D)  
I owe everything to that man. I   
wouldn't be here if it wasn't for   
him. Because it was Thomas Anderson   
that set me free. He arranged it so   
that the sins of my past, wouldn't   
follow me into my future.  
  
Doe is watching Theresa, absorbing everything she is   
telling him. She walks away from the window towards Doe,   
still holding the scrapbook close to her chest.  
  
THERESA (CONT'D)  
You see, the man that you were 3   
years ago gave me a new life, at the   
expense of our relationship. So   
that I could get away from.....some   
very dangerous people. I wanted him   
to come with me, but he and I knew   
that he couldn't.  
  
We see that Doe is still at a loss for words as he is   
listening to Theresa, whose eyes begin to water a bit.  
  
THERESA (CONT'D)  
So,..with much regret..I took the   
chance Thomas gave me and I started   
a new life. But before we parted   
ways, we had one last night   
together. That night, Thomas told   
me that my freedom was conditional.   
That I had to forget about my past   
and not reveal it to anyone. Then   
he said the strangest thing. He   
told me, that there might come a   
day, when we would meet again,....  
  
Theresa pauses as she attempts to hold back tears.  
  
THERESA (CONT'D)  
But that he would not remember me.   
That he would be a stranger, and   
that no matter what, I could not   
risk telling that stranger anything   
about Thomas Anderson or us. He said that  
it would put both of us in great danger.  
He made me promise that I wouldn't say   
anything if that situation presented   
itself.   
  
Doe is in complete shock as he continues to listen to   
Theresa's confession.  
  
THERESA (CONT'D)  
(holding back   
tears)  
I didn't know what that   
meant at the time. But I do now.  
  
Theresa walks over to Doe and sits next to him again. She   
then gently hands him the scrapbook she had been holding.   
Doe takes it and looks at the red leather cover of the   
scrapbook. In gold letters Doe sees the words, "Theresa   
and Tommy" engraved on the cover.  
  
JOHN DOE  
(looking at the   
cover)  
I...I don't know what to say...  
  
Theresa then takes Does left hand with hers.  
  
THERESA  
Tommy, I'm afraid I don't know   
what's happened to you since   
that time. But I've   
decided that you deserve to know   
what I know about Thomas Anderson.   
About us. Because I believe that   
everything that made him what he   
was, is still in you. And I don't   
care what happens to me because of   
it.  
  
Doe looks at Theresa with a sense of gratefulness and   
respect that he had felt all along, but was afraid to show   
it. He then looks at the scrapbook in his lap.  
  
THERESA (CONT'D)  
(staring at Doe)  
I started this when we first met.   
It's my book of memories.....Open   
it.  
  
With that, Doe opens the scrapbook. What he begins to see,   
is a series of photographs, featuring Theresa and Thomas   
Anderson. Pictures of Theresa at the beach, hiking in the   
woods, camping, holding and kissing Thomas Anderson. As   
Doe flips from page to page, he begins to realize that   
Thomas and Theresa had had a very close relationship. They   
did a lot of things together, and were very happy doing   
them. Doe begins to wonder about what went wrong. What   
could have been so important to Thomas that made him give   
up all of this? Did he have a choice? Doe notices that   
some of this pictures are the same ones he saw in the house   
where he first came in contact with "Yellow Teeth".  
  
JOHN DOE (B/W P.O.V.)  
  
---Pictures in black and white, except the images of   
Theresa which are in color.   
  
JOHN DOE  
(looking up at   
Theresa)  
I've seen some of this pictures.   
The first time that I ran into the   
Phoenix group.(See Episode #108 "Idaho")   
  
THERESA  
(intrigued)  
How? Where?  
  
JOHN DOE  
I was duped into this charade by   
this group. My investigation into   
the death of a private investigatorled me   
to this house at 3712 Queen Ann Ave. I   
saw a surveillance picture of you in   
front of this house. And inside, I   
saw some of this pictures. Framed   
and adorning the living room. I   
thought it was your house. It   
turned out to be just another lie.  
  
THERESA  
I think I remember this house. I   
was supposed to make a consultation   
visit for the shelter because a   
woman had supposedly called from   
this address asking for help with   
her depression. When I got there,   
no one was home. The house was unlocked  
and empty.  
  
JOHN DOE  
(nodding in   
realization)  
That's how it started. They knew   
that seeing you would make me listen   
to their lies.  
  
Doe and Theresa look at each other for a moment, before he   
takes notice of a familiar picture which shows Thomas,   
Theresa and a pet dog. Theresa takes notice of Doe's   
interest in that picture.  
  
THERESA  
(smiling)  
That's Bruno. He used to be the man   
in my life before you came along.   
He never really took to anyone.   
Except you. He died not too   
long after I left the Foundation.  
  
Doe reacts to Theresa's first ever mentioning of where she   
ran away from.  
  
JOHN DOE  
The Foundation? Is that where we   
met?  
  
Theresa's face turns to one of complete seriousness and   
apprehension.   
  
THERESA  
(after pausing a   
few seconds)  
The Soros Foundation. The people we   
used to work for.  
  
JOHN DOE  
Soros? Worldwide Conglomerate of   
Companies and private investors.   
With holdings in over 50 countries.   
Specializing in Technological and   
Medical research and advancements.  
  
Theresa nods in agreement.  
  
JOHN DOE (CONT'D)  
We were scientists?! Researchers?!  
  
THERESA  
Something like that.  
  
JOHN DOE  
But this Soros Foundation, they're   
world renowned. Are they the   
Phoenix Group?  
  
THERESA  
I told you I've never heard of the   
Phoenix Group. But Soros is much   
more than what you see on paper.   
They are larger and more powerful   
than what you might know. The   
foundation is just a shell.  
  
Doe slowly closes the scrapbook as he ponders Theresa's   
latest revelation.  
  
JOHN DOE  
(with a frustrated   
look)  
I don't remember any of this. I   
wish I did. I thought there would   
be something, a hint of a past   
memory. But I'm at a complete loss.   
I don't understand. This is not   
amnesia, its something else.   
Instead of answers, I'm getting more   
questions.  
  
THERESA  
I know. I wish I was making things   
easier for you.  
  
Doe gets up from his seat.  
  
JOHN DOE  
No. I think you've helped me more   
than you should have. I shouldn't   
have pried into your life like that.   
Now I may have placed you in danger   
again.  
  
Doe stops in front of a painting on the wall.  
  
THERESA  
(smiling and   
shaking her head)  
You still don't get it, do you   
Tommy?...They're everywhere. Always   
watching. They can get to anyone,   
anywhere at anytime.  
  
Doe turns to look at her.  
  
THERESA (CONT'D)  
I may not know how or why you've   
changed this way. But you can be   
sure, Soros had something to do with   
it. And if you're not working with   
them now, it's because they wanted   
that way. The same reason I'm still   
alive.  
  
They both stare at each other for a few seconds. Then   
there's a knock at the door.  
  
THERESA (CONT'D)  
(out loud)  
Come in.  
  
We see Sarah opening the door.  
  
SARAH  
Theresa honey, Grace just called   
from the Center. She wanted to know   
if you could come in today and take   
over one of the groups.  
  
Sarah waits by the door as Doe glances over to Theresa.  
  
THERESA  
(with a sigh)  
Tell her I'll be there.  
  
Sarah smiles and nods to both Doe and Theresa as she shuts   
the door. Theresa sits on the couch and watches Doe with a   
slight smile.  
  
JOHN DOE  
I guess that's enough storytelling   
for today.  
  
THERESA  
I better get ready.  
  
Doe nods in agreement.  
  
JOHN DOE  
Can I drive you?  
  
Theresa smiles as if she knew he was going to say that.  
  
THERESA  
That would be nice.   
  
We see Doe smile back at her as well.  
  
CUT TO:  
  
EXT. SEATTLE MIDTOWN STREET - DAY  
  
Doe's convertible sports car makes his way slowly in the   
middle of a downtown street before turning and pulling up   
to a sidewalk parking spot. We see Doe turn off the engine   
and both he and Theresa step out of the car. They both   
begin walking down the sidewalk towards the town square.  
  
At that same moment. We switch angles to a far away shot   
of Theresa and Doe walking away. Then we see a black SUV   
pull slowly out of an alley. The passenger tinted window   
rolls down and we see a man (early 30's) with a camera in   
hand taking pictures of Doe and Theresa crossing the street   
one block away.  
  
EXT. WHOLE LIFE RECOVERY CENTER - DAY  
  
Doe and Theresa walk up to the front doorsteps of the   
Recovery center.  
  
THERESA  
Well, this is it. My home away from   
home.  
  
JOHN DOE  
(looking at the   
building)  
So, this is where you work.   
  
THERESA  
No, I'm not on their payroll. Just   
a volunteer.  
  
JOHN DOE  
(a bit confused)  
But, if you don't get paid, how do   
you earn a living? Donations?  
  
THERESA  
(with an   
embarrassing smile)  
No. Lets just say, I'm doing this   
because I don't have to work. I   
want to help people in need, that's   
all.  
  
Doe nods as he realizes that Theresa seems to be   
financially secure.  
  
JOHN DOE  
That's very inspiring.  
  
THERESA  
Thanks....You want to come inside?  
  
JOHN DOE  
No. I think uh....There are other   
people who need your help. Maybe I   
can come back later?. Take you to   
dinner.  
  
Theresa seems to agree with the idea.  
  
THERESA  
(smiling at Doe)  
I should be done by 8.  
  
JOHN DOE  
It's a date.  
  
At that moment a couple of women walk up to the steps of   
the center. Theresa recognizes them.  
  
THERESA  
(to both women)  
Hi Michelle. Barbara?  
  
The two women smile and exchange pleasantries with Theresa.   
Doe stands by watching. Theresa hugs each one   
individually.   
  
THERESA (CONT'D)  
I'll see you both inside, Ok?  
  
The women nod and proceed to walk in.  
  
THERESA (CONT'D)  
(to Doe)  
I have to go. See you later?  
  
JOHN DOE  
You got it.  
  
Theresa smiles at Doe as she walks up the front steps of   
the center. As she opens the glass door, she takes one   
last look at Doe, who's still standing at the bottom of the   
steps. Theresa then walks inside, with other people coming   
out of the building. Doe then begins to walk back to his   
car.  
  
EXT. SEATTLE MIDTOWN STREET - DAY  
  
We see Doe run across the street to avoid coming traffic.   
He makes it to the sidewalk and walks in the direction his   
car is parked. As he takes his keys out of his jacket he   
steps in front of his parked car. Suddenly, Doe hears a   
familiar voice.  
  
SAM CLARKSON  
She's a very pretty lady, Doe. You   
make a cute couple.  
  
Doe stops in his tracks, then looks in the direction that   
N.S.A. Agent Sam D. Clarkson is standing. He's wearing the   
standard government agent suit with both hands in his   
pockets. Doe walks back onto the side walk and stops about   
8 feet away from Sam.  
  
JOHN DOE  
(with and intense   
look)  
What the hell do you want?  
  
SAM CLARKSON  
Now John! Is that any way to greet   
an old friend?  
  
JOHN DOE  
We're not friends? And I'm warning   
you to stay away from her.  
  
SAM CLARKSON  
(trying to look   
surprise)  
I'm really surprised at all this   
hostility coming from you John. I   
mean, correct me if I'm wrong, but I   
thought that we worked together   
pretty damn good last time we saw   
each other.  
  
JOHN DOE  
Wrong! We used each other to get   
what we wanted. And that's where it   
ended.  
  
Sam pulls his hand out of his pockets and walks closer to   
Doe.  
  
SAM CLARKSON  
That's were you're wrong John. What   
I wanted was the Phoenix Group.   
Instead, I got about 2 dozen bodies   
and 2 missing key figures slip away   
from me.  
  
JOHN DOE  
That's your problem. Not mine.  
  
SAM CLARKSON  
Wrong again, John. You seem to   
forget that you are still pretty   
damn important to them. Which makes   
the group our problem. You and me.   
I mean, damn it John! I thought we   
put all this behind us. Now, we HAVE   
to talk.  
  
Doe shakes his head as he steps away from Sam.  
  
JOHN DOE  
I got nothing to say to you.  
  
Doe begins to walk to his car when he notices two more   
N.S.A. agents standing in front of his car. Apparently   
anticipating that Doe would try to drive away. Doe sees   
them and stops, then turns and gives Sam an angry look.  
  
SAM CLARKSON  
(looking at Doe)  
I know about Digger.  
  
Doe looks around to see if there are any more agents close   
by.  
  
SAM CLARKSON (CONT'D)  
The Police officer he killed had his   
video camera on when Digger executed   
him. You should have told us John.   
We would have known who to look for.   
I thought we agreed to help each   
other.  
  
JOHN DOE  
You never would have found them. It   
made no difference who they were.   
Anyway, I don't need your help. You   
people just want to use me the same   
as this damn Phoenix group.  
  
Sam again walks closer to Doe.  
  
SAM CLARKSON  
So what are you planning to do John.   
You're going to take on this group   
on your own. Because they're not   
going to stop. They're not gone   
John. They're watching you, and   
Theresa.  
  
Doe looks at Sam, pondering his words.  
  
SAM CLARKSON (CONT'D)  
Now we've been analyzing all the   
evidence we found at the Copper mine   
that day. And I think we know what   
they were doing when we busted in on   
them.  
  
A look of intrigue comes over Doe.  
  
SAM CLARKSON (CONT'D)  
We've also found some new   
information on Digger's whereabouts.   
We want to brief you on this John.   
We want your input. Now, we're not   
exactly sure what this group is up   
to. But we consider them a threat.   
So I think you owe it to yourself to   
help us on this. What do you say?  
  
After a few seconds of pondering, Doe glances at Sam in a   
way that lets Sam know he agrees. Sam then signals with   
his hand and a black S.U.V. pulls up from the alley behind   
him. Sam opens the passenger door and gestures to Doe.  
  
SAM CLARKSON (CONT'D)  
Lets go for a ride.  
  
We see Doe get into the S.U.V. with Sam. The other 2   
agents get into another vehicle parked down the street.   
Then both vehicles drive off down the street. We switch   
angles and see the vehicles pass a particular street   
corner. We then see that in that corner there is a corner   
Cafe shop, with tables outside.  
  
On one of those tables sits a woman. Short brown hair   
(early 40's). She watches the cars go by and immediately   
begins typing into what looks to be a special kind of   
transmitter laptop.  
  
CLOSE ON - LAPTOP SCREEN  
  
We see the words being typed on the screen. "N.S.A. has   
contacted target. Please advice"  
  
CLOSE ON - WOMAN'S COLD STARE  
  
FADE OUT.  
  
ACT THREE.  
  
EXT. THE VATICAN, ROME - NIGHT  
  
We see beautiful lights adorn The Vatican Dome in the   
distance. As we pull down from the view of the Dome, we   
come down to a narrow Roman street. A black sedan with   
tinted windows drives away from the direction of the   
Vatican Dome. The vehicle makes his way down the street   
and turns the corner. After slowing down a few feet the   
car turns into an alley behind an Italian bakery.  
  
EXT. ALLEY BEHIND BAKERY - NIGHT  
  
The black vehicle comes to a big warehouse door. After a   
few seconds, the metal door lifts open, allowing the car to   
drive inside. As soon as the car is inside the metal door   
begins to close shut.   
  
INT. UNKNOWN WAREHOUSE - NIGHT  
  
The black car comes to a stop in the middle of a warehouse   
full of crates and boxes. No one else is visible inside   
the warehouse. We then see both the driver's side and the   
passenger's side doors open. From the driver's side steps   
out Trenchcoat Man and from the passenger's side steps out   
Samuel. Neither man says a word as they both make their way   
towards the back part of the warehouse and up a set of   
metal stairs to a second level.  
  
We see both men calmly walk across the second level of the   
warehouse towards another door. This door looks strangely   
out of place, as if it has no place being there. Next to   
the closed door there is a box with a number key pad   
display. Trenchcoat Man punches in a set of numbers. With   
that the door makes a clicking sound and Trenchcoat Man   
opens it. Both men walk through the doors and we see the   
door close shut behind them.  
  
INT. PHOENIX GROUP HQ - NIGHT  
  
Inside this section of the warehouse we see both Samuel and   
Trenchcoat Man walk along a walkway high above what looks   
to be a group of about 40 to 50 young men in black suits   
and ties. Each of them busy walking about or sitting in   
front of a laptop display. Samuel looks around as he makes   
his way down a set of metal stairs to the level where the   
group of men are following their assignments. Trenchcoat   
Man is ahead of him, making his way towards a front section   
of the work area, where on a desk a set of reports that   
await review. Trenchcoat Man grabs these reports and   
brings them to Samuel, who is walking among the group of   
men examining their work. Samuel takes the reports in hand   
and begins to walk to another part of the workroom,   
followed closely by Trenchcoat.   
  
We see both men come to a section that looks like a   
makeshift movie theater. A giant projection screen is on   
the wall, with a series of images flashing one after the   
other in 2 second intervals. The images are pictures of   
the Vatican, different Vatican personnel and buildings, men   
and women around the Vatican buildings. Sculptures and   
paintings of heavenly figures can also be seen among the   
flashing of images. We pull back from the screen to see 4   
people strapped to chairs pointing at the screen.   
Separated into 2 pairs, the 3 men and one woman are all   
panting heavily with pad and pencil in front of them. Each   
of them is sketching erratically onto the note pad and   
being supervised closely by a group of young men in lab   
overcoats.  
  
Samuel walks among this 4 subjects and examines their   
previous sketches. He sees nothing of interest and turns   
towards Trenchcoat who is standing by.  
  
SAMUEL (In Sign Language)  
This is not happening fast enough.   
It could take us months or years at   
this rate before we find the right   
lead.  
  
TRENCHCOAT MAN (In Sign Language)  
And your tour of the Vatican did not   
help us either.  
  
SAMUEL (In Sign Language)  
Not true. I did meet a strange   
fellow. He projected a sense of   
fear towards me I did not foresee.   
I want him under surveillance   
immediately.  
  
TRENCHCOAT MAN (In Sign Language)  
Who is he?  
  
SAMUEL (In Sign Language)  
Father Dominick Parsento. Head of   
the Corinthian Order. Angelo told   
me he has the highest security   
clearance in the Vatican. This man   
has access to their deepest secrets.   
I believe our paths did not cross by   
chance. We need to know everything   
about him. Make this happen within   
the hour.  
  
Samuel proceeds to walk into his private office nearby.   
Trenchcoat watches him leave and then begins to walk back   
to the workroom.  
  
EXT. THE VATICAN, ROME - NIGHT  
  
The moon lights up the night as we see Father Dominick   
calmly walk out of the side entrance of one of the   
courtyards of the Vatican. He is pushing his old bicycle   
which he rides everyday. Father Dominick adjusts his scarf   
and places his book bag on the bicycle's basket. He then   
pushes it outside the courtyard past a beautiful fountain.   
As he reaches the street we can see that other people are   
walking about, possibly leaving evening mass. On the   
street, Father Dominick slowly gets on his bike and   
proceeds to ride down the street.  
  
EXT. ROMAN STREET - NIGHT  
  
We see the old priest ride his bicycle past businesses and   
tourist who are enjoying the beautiful Roman night. Father   
Dominick looks to be in deep thought. He seems to be   
thinking about something that has clearly bothered him   
today. As he rides he is looking around for anything   
suspicious to him. As he reaches an intersection the old   
priest stops to let traffic pass. While doing so, he takes   
a look behind him and notices a young man riding a scooter   
bike, pull up next to him. The young man looks like a   
typical Italian youth on his way to a place where no priest   
would probably go. The priest and the young man exchange   
smiling glances.  
  
As the young man then looks ahead for the light to turn   
green, we notice that Father Dominick is looking a the   
young man out of the corner of his eye. It seems that   
Father Dominick is noticing something odd about the young   
man. Seconds pass before the young man senses the priest's   
stare and turns to the old man.  
  
CLOSE ON - FATHER DOMINICK'S FACE  
  
FATHER DOMINICK (INT P.O.V.)  
  
---The young man's face suddenly turns fromm normal to pale   
white. His eyes sink into their sockets and become two   
black holes.  
  
---At the same time, everything around him turns black and   
rotten looking.  
  
In a split second second everything turns back to normal   
for Father Dominick. His face jolts back as he sees the   
young man ride off down the street without even looking   
back at the old priest. Father Dominick remains at the   
intersection, he raises his hand towards his forehead in   
obvious concern and fear. After a few seconds, the priest   
looks around some more and proceeds back in the opposite   
direction he was heading.  
  
CUT TO:  
  
EXT. ST MARTIN STREET - NIGHT  
  
We see the white street sign that reads "St. Martin" near a   
light post. As we pull back, we come down to an inclined   
street where Father Dominick is riding down in a hurry. As   
he turns down St. Martin street, he slows down and comes to   
a stop in front of a particular store window. As we move   
closer, we see the old priest get off his bicycle and place   
it to the side. He is clearly shaken as he keeps looking   
around trying to see if anyone is watching him. After   
grabbing his book bag from his bike he proceeds towards the   
front door of the shop and opens it. As he does we see the   
sign painted on the store window. It says in Italian:   
"Bertucci's Rare Books", the priest steps inside and closes   
the door.  
  
INT. BERTUCCI'S BOOKSTORE - NIGHT  
  
Father Dominick is locking the door, still looking outside   
for anything strange. We then see the store owner peaking   
from his upstairs office. His name is Frederico   
Bertucci,(late 60's) long time friend of Father Dominick.  
  
(Italian Translation Begins)  
  
BERTUCCI  
(with books in   
hand)  
Dominick!? What brings you here so   
late? I told you, I won't have your   
books until next Tuesday. You're   
loosing your memory in your old age   
my friend.  
  
The old priest loosens his scarf as he proceeds to walk   
inside the store. Bertucci comes down his stairs to the   
lower floor to see his old friend. Father Dominick is   
panting from exhaustion. He takes a seat in the store's   
old reading couch.  
  
FATHER DOMINICK  
Thank Goodness your were still open   
'Tucci.  
  
Bertucci begins to look concerned as he realizes his old   
friend is truly worried about something.  
  
BERTUCCI  
I had to. Corso called me today.   
Said he had some books he wanted me   
to appraise for him.  
  
Dominick's face lights up at his old friend's revelation.  
  
FATHER DOMINICK  
Corso is in town!? He's coming here   
tonight?  
  
BERTUCCI  
That's right. Is something wrong   
Dominick?  
  
FATHER DOMINICK  
(looking up at his   
friend)  
How long is he here for?  
  
BERTUCCI  
(still looking   
confused)  
He leaves tomorrow. Are you going   
to tell me what's happening? Or am   
I going to have to guess?  
  
Bertucci takes the books in his hand and places them on a   
table with about 10 stacks of other books. We see that his   
whole store is just a small narrow shop with a endless rows   
of books on countless shelves. Each shelf appears to be   
growing from the floor of the store, giving us a sense of   
their age.  
  
FATHER DOMINICK  
(deep in thought)  
I don't think you would believe me   
if I told you.  
  
Bertucci turns to his friend in confusion. Still not   
understanding his words.  
  
BERTUCCI  
(trying to annoy   
his friend)  
I'm afraid you're going to have to   
be more specific Dominick. There's   
a lot of things about you that I've   
found to be unbelievable over the   
years.  
  
Bertucci's humoristic approach is lost in Dominick's   
worried eyes. The priest has a far away look in his face.   
He then turns to Bertucci who is more confused than ever.  
  
FATHER DOMINICK  
Imagine spending your whole life   
preparing for something so important   
and so improbable, that you begin to   
disbelieve it. And then suddenly   
without warning, it is upon you.  
  
Dominick's tone of voice finally convinces Bertucci that   
his old friend is truly distraught. What follows is a few   
seconds of silence as both men look at each other. When   
suddenly there is a loud knock on the glass door of the   
bookstore. The pair of old men almost jump out of their   
shoes as they are both startled by the abrupt noise.   
Bertucci looks closer at the window and sees that it is   
none other than Dr. Adriano Corso (early 50's). A freelance   
Theologian and Archeologist who travels the world   
constantly, working and moving from different historical   
digs all over the globe.   
  
CUT TO:  
  
INT. BERTUCCI'S OFFICE - NIGHT  
  
Father Dominick, Dr. Corso and Bertucci are sitting in the   
upstairs office of the bookstore. The store is now closed   
and the front lights are off. Corso is holding a glass of   
wine which Bertucci has already poured in. The well   
traveled Theologian looks more like a homeless man. He   
looks like man who has not had a haircut or a shave in 3   
months. Father Dominick is next in line as Bertucci grabs   
another glass from his cabinet and fills the glass half   
full. As he hands it to the old priest, we see Dominick   
has a nervous mood about him. His hands shake as he takes   
the glass of wine. Corso glances at Bertucci, both men see   
that the old priest is in some type of distress.  
  
CORSO  
(to Dominick)  
It is good to see your old face   
Dominick. I WAS going to come see   
you tomorrow. Brought you some   
Spanish Brandy. '74 Cortez, very   
good year.  
  
Father Dominick doesn't react to his friend's good news, he   
has a far away look on his face. Corso is a little taken   
back by this, he's never seen the old priest act this way.   
After a few seconds of silence, Dominick looks up at both   
Bertucci and Corso who are staring at him.  
  
FATHER DOMINICK  
I'm.. I'm sorry. It's just that   
something very important has   
happened. Tucci please, I need to   
speak with Corso in private if you   
don't mind.  
  
The shop owner and Corso give each other a curious look.   
Bertucci seems to be a bit insulted by the omission.  
  
BERTUCCI  
Looks like SOMEONE is full of   
secrets today. Hum... What do I   
care? I got books file.  
  
With a bitter funny look, Bertucci proceeds downstairs to   
his books. Corso has a slight smile as he watches his   
friend walk down the stairs, mumbling things under his   
breath. Father Dominick is looking at Corso with a very   
serious look.  
  
FATHER DOMINICK  
I'm so glad you're here Corso.  
  
CORSO  
(smiling)  
Well I should hope so. What's with   
you? And why did you shut out Tucci   
like that? In his own store   
nonetheless.  
  
Dominick pulls his chair closer to Corso.  
  
FATHER DOMINICK  
No..No one else can know about this.   
It's for his own good.  
  
CORSO  
Dominick. What's wrong? I've never   
seen you this way.  
  
FATHER DOMINICK  
I'm sorry my friend. Now please,   
you must listen to me. How long are   
you in Rome for? Are you leaving   
tomorrow?  
  
Dr. Corso face grows more curious at the priest's   
questions.  
  
CORSO  
(thinking)  
Um...I'm driving to Bella Leon   
tomorrow night. Why?  
  
FATHER DOMINICK  
No. You must leave tonight.   
Please.  
  
CORSO  
(laughing)  
What? I just drove into town   
tonight. What are you talking   
about?  
  
FATHER DOMINICK  
Please Corso. I need you to do   
something for me. You must leave   
Rome tonight and take something of   
mine with you. I assure you, it is   
the most important task you have   
ever done.   
(looking down)  
When I came here tonight, I didn't   
know what to do. But when Tucci   
told me you were in town on this   
precise night of all nights, I knew   
that it must have been God showing   
me the way.  
  
Corso is now in disbelief at what his old friend is asking.  
  
CORSO  
Dominick. I don't know what is   
making you act this way. But I want   
you to know that you can tell me   
what's troubling you in confidence.  
  
FATHER DOMINICK  
(standing up)  
No. Not here. Corso please. I   
know how all of this sounds. But I   
ask you. Have I ever giving you any   
cause to doubt me before?  
  
Corso just stares at him in silence as he realizes the   
sense of importance in the priest's voice. Dominick grabs   
his book bag and gets ready to leave.  
  
FATHER DOMINICK (CONT'D)  
Now my friend. If our friendship   
over the years has meant anything to   
you, then please do what I ask of   
you now. Meet me at my house in   
half an hour. Come alone and make   
sure that you are not followed. I   
promise, I will explain everything   
to you there. Will you do this for   
me?  
  
After a few seconds of contemplating his options, Corso   
nods in agreement. Father Dominick then smiles at his   
friends decision and shakes his friend's hand.  
  
FATHER DOMINICK (CONT'D)  
Thank you my friend. You will not   
regret this. I promise.  
  
(Italian Translation Ends)   
  
Dominick then proceeds down the steps in a hurry. Leaving   
Corso sitting behind in his chair, with a very concerned   
and intrigued look in his face.  
  
EXT. BERTUCCI'S BOOKSTORE - NIGHT  
  
We see Father Dominick step out of the bookstore. It is   
late now, close to 11:00PM. Dominick looks around again,   
but sees no one. He gets on his bicycle and proceed to   
ride down the street in a hurry.  
  
EXT. ROMAN STREET - NIGHT  
  
Father Dominick rides his bike quickly around the corner,   
pass a series of parked cars. As he goes by, we switch   
angles to look in the direction he came from. After a few   
seconds, we see a man in a scooter pull up slowly to the   
corner and stop. It is the same young man that Dominick   
saw before, his face is emotionless as he stares in the   
direction that the priest rode down.  
  
CUT TO:  
  
EXT. PHOENIX GROUP HQ - NIGHT  
  
We pan down from the flashing Vatican images in the   
projection screen on the wall to the group of apparent   
remote viewers the Phoenix Group is using to surveillance   
the Holy site. We then focus on one of the viewers,   
concentrating on the note pad he is sketching on. We see   
that he begins to draw a circular shape, of what looks to   
be a domed ceiling building. Different from the familiar   
Vatican dome. This building had a door in front of it, and   
windows on either side. The viewer begins to draw faster   
and becomes more agitated as he appears to be receiving a   
particular strong vision. We then see on the note pad that   
he is drawing the figure of a man walking a bicycle towards   
the door on this small domed building.  
  
DISSOLVE TO:  
  
EXT. FATHER DOMINICK'S HOME - NIGHT  
  
Just as if the remote viewer's latest sketch was   
superimposed on what we are seeing now, we see a similar   
small domed building with windows and a door. We also see   
Father Dominick walking his bicycle towards the door. It   
appears to be his home, which stands on top of a hill   
overlooking a beautiful roman landscape with a beautiful   
view of the Vatican Dome close by.  
  
Father Dominick walks his bike up the steps to the front   
door and takes out his keys. As he looks around some more   
he inserts his house key and opens the door. He walks the   
bicycle inside his open home, then looks outside one more   
time before shutting the door.  
  
INT. FATHER DOMINICK'S HOME - NIGHT  
  
We see Dominick put his bike to the side, then take his   
scarf off and proceed to a table in the middle of his home.   
He turns on the lights. With the lights on, we see   
Dominick's humble abode, which looks more like storage   
space than a house. Things you would normally see in   
someone's home seem to be absent. No television, no   
kitchen, not even a phone. The whole place is curved with   
a staircase looping from one side to the other leading to   
an upstairs level. Concrete walls surround the whole place   
and everything inside seems in disarray, with dust   
everywhere. There are papers all about and what seem like   
antiques and stacks of books of every kind fill every open   
space.   
  
Dominick puts his things on the table. He is in deep   
thought, trying to figure out his next move. The old   
priest then proceeds up his staircase towards the second   
floor. We see him pass his unmade bed, surrounded by more   
books and papers, towards his closet. He opens his walk-in   
closet door and walks inside. Inside his closet there are   
clothes and more books everywhere. Father Dominick looks   
up to what looks to be an attic door with a rope attached   
above his closet. Dominick pulls down on the rope, which   
in turns pulls down the attic door that unfolds to a small   
latter leading to the upstairs attic. Dominick then grabs   
a flash light from somewhere and proceeds to climb the   
latter up to his attic.  
  
INT. FATHER DOMINICK'S ATTIC - NIGHT  
  
The priest's head rises from the floor bellow as he   
finishes climbing the ladder to his attic. We then see his   
flashlight turn on, illuminating what looks to be a very   
cluttered room. Statues of the Virgin Mary, very old thick   
books, and Christian crosses are all over the place.   
Father Dominick walks in between all this items through a   
makeshift path towards the other end of the attic. Along   
the concrete walls we can see, all kinds of Christian   
artifacts, some undoubtedly priceless in value. The old   
priest makes his way to a particular spot. We switch   
angles to see that he's standing next to what looks to be a   
5 foot long wooden crate with a glass cover, lying flat on   
a wooden table.   
  
Father Dominick hesitates for a few seconds as he shines   
the light on the crate. We see the light slowly creep up   
from the bottom end of the crate, along the glass cover   
toward the top of the crate. Dominick focuses the light to   
see what is encased under the glass. Finally we see what   
is inside the crate; it is The Phoenix Staff.  
  
CLOSE ON - FATHER DOMINICK'S FACE  
  
(Italian Translation)   
  
FATHER DOMINICK  
(staring at the   
staff)  
Give me strength God. The Time of   
Judgment is here.  
  
CLOSE ON - THE PHOENIX STAFF  
  
CUT TO:  
  
INT. PHOENIX GROUP HQ - NIGHT  
  
We see Trenchcoat man walking up from the work area towards   
the side office where Samuel is standing. As he makes his   
way there he passes the 2 pairs of remote viewers still   
working away. Trenchcoat stops at the doorway to Samuel's   
office. We switch angles to see Samuel turn around to look   
at his colleague.  
  
TRENCHCOAT MAN (In Sign Language)  
We have your Father Dominick under   
surveillance. Information we have   
says that he lives outside the   
Vatican grounds. He is well known   
by antique dealers around the world.   
The priest fits our profile   
perfectly.  
  
SAMUEL (In Sign Language)  
(with a stern face)  
Where is he now?  
  
TRENCHCOAT MAN (In Sign Language)  
Our shadow tells us he stopped at an   
Antique Books Store on St. Martin's   
street. Met with two men, then   
left.  
  
Samuel acknowledges and walks out of his office onto the   
area where the remote viewers are still working.   
Trenchcoat follows close behind. We see Samuel look over   
at the remote viewers and then stares back at Trenchcoat.  
  
SAMUEL (In Sign Language)  
He's the lead we've been looking   
for. I felt it when he shook my   
hand. We must watch him closely.  
  
TRENCHCOAT MAN (In Sign Language)  
He may already know we are watching   
him. Our man reported that the   
priest took an unusual interest in   
him.  
  
SAMUEL (In Sign Language)  
That may be my fault. The priest   
had a sensory discharge when our   
hands touched. We may have to bring   
him in.  
  
As Samuel and Trenchcoat continue talking, one of the labcoat   
personnel looking over the remote viewers notices what one   
of the viewers is sketching. The young man's eyes widen,   
then he grabs the drawing from the viewers station. He   
quickly takes it over to Samuel, who takes notice of the   
young man's excitement.  
  
PHOENIX OPERATIVE #1 (In Sign   
Language)  
(after handing the   
drawing to Samuel)  
They found something sir.  
  
Samuel looks at the drawing for a few seconds with   
Trenchcoat and the young operative looking on. Samuel   
turns stone face as he continues to stare at the drawing.   
He then moves quickly towards a table where the previous   
drawings of the viewers are being reviewed. He searches   
through them and quickly comes to the drawing of Father   
Dominick walking his bike towards a domed building with a   
door in front of it.   
  
SAMUEL  
(looking at the   
drawing)  
Get the car ready.  
  
Trenchcoat and the young operative look stunned as they   
hear their boss speaking out loud. Samuel turns and looks   
up at both of them.  
  
SAMUEL (CONT'D)  
(louder)  
NOW!!!!!  
  
Trenchcoat immediately moves out, as does the young   
operative. We see other Phoenix members take notice of the   
speaking voice of their leader. We then switch angles to   
see the drawing that seemed to set Samuel off. It is a   
rough sketch of what looks to be the Phoenix Staff.  
  
CUT TO:  
  
EXT. FATHER DOMINICK'S HOME - NIGHT  
  
We see a blue '77 Volkswagen van with European plates drive   
up the hill and pull towards the cul-de-sac in front of   
Dominick's home. The van parks and we hear the engine shut   
off. After a few seconds the driver's side door opens and   
we see Dr. Adriano Corso step out and shut the door behind   
him. He begins to walk towards Dominick's door, as he does   
so he looks behind him and sees a figure standing at the   
bottom of the hill. He can't make out his features but the   
figure is standing on the street corner, looking up the   
hill towards Dominick's place. Corso is curious but   
nothing more than that as he pulls down on a rope next to   
Dominicks door. The rope makes a rattling sound inside the   
home, obviously serving the purpose of a doorbell.  
  
After a few seconds, a small peephole door opens on   
Dominick's Door.  
  
(Italian Translation Begins)   
  
CORSO  
(looking at the   
door)  
It's ME Dominick. Open up.  
  
Dominick opens the door in a hurry.  
  
FATHER DOMINICK  
(looking behind   
Corso)  
You weren't followed?  
  
CORSO  
Of course not. What...  
  
FATHER DOMINICK  
(rushing Corso to   
enter)  
Not here..Come in, come in.  
  
Dominick shuts his door after letting Corso in. We switch   
angles to the figure standing at the street corner down the   
hill. As he comes out of the shadows, we see that it is   
the young man who was riding the scooter before. He pulls   
out a portable keypad device, and begins typing. All the   
time looking up in the direction of Dominick's place.  
  
INT. FATHER DOMINICK'S HOME - NIGHT  
  
Corso walks to the middle of Dominick's home, looking   
around a bit before moving some books out of the way and   
sitting on an old couch. Dominick locks his door and looks   
out his windows, completely nervous. Corso can only stare   
at his old friend in confusion.  
  
CORSO  
Dominick, I just got into town. Ok?   
I need a shower and a bed. Now I'd   
like to get to my hotel room soon,   
so would you mind telling me what   
this is all about?  
  
Dominick walks towards his old friend and sits on a chair   
in front of Corso.  
  
FATHER DOMINICK  
I know how all this must look to   
you. You must understand, I did not   
mean for this to happen this way.   
But you're the only one I can trust   
with this.  
  
Corso leans forward in his seat to listen to his friend   
better.  
  
CORSO  
Dominick. Maybe I would understand   
this whole situation better, if you   
just told me what exactly you need   
me to do for you.  
  
Dominick smiles and gets up from his chair and begins to   
walk around the room.  
  
FATHER DOMINICK  
Ah, my friend. I wish it were that   
simple....I don't even know how to   
begin....How to explain this to you   
without sounding like an old senile   
fool.  
  
CORSO  
Dominick. We have known each other   
for a long time and I think you know   
you can trust me with anything. If   
you ask me to believe you, I will.   
There's no reason for me not to.   
  
The old priest crosses his hands as he listens to Corso.   
Dominick is now staring at an old painting of the   
crucifixion of Christ. Corso looks from behind him.  
  
FATHER DOMINICK  
That's good. Because I'm about to   
entrust you with something that was   
entrusted to me a long time ago.  
  
Dominick turns to look at Corso, who is looking with an   
intrigued face.   
  
FATHER DOMINICK (CONT'D)  
Something more important than life   
itself.  
  
Corso smiles slightly at what appears to him to be an   
exaggeration in terms.  
  
CORSO  
And what is THAT Dominick?  
  
FATHER DOMINICK  
(looking intently   
at Corso)  
The FUTURE.  
  
(Italian Translation Ends)   
  
INT. PHOENIX GROUP HQ - NIGHT  
  
We see a phoenix group member (20's) walking up the stairs   
to the second level and head towards the exit door to the   
other side of the warehouse. He gets to the door, punches   
a series of numbers on the keypad lock and opens the door.   
Not far behind, we see that Trenchcoat man is making his   
way across the work area towards the same stairs.  
  
Suddenly we hear muffled gunshots being fired from fully   
automatic firearms with silencers attached. The young   
operative who had just walked through the upstairs door   
stumbles back inside suffering from gunshot wounds.   
Immediately he is followed by a group of a dozen men, all   
in full black assault gear. They move with the speed and   
skill of a tactical attack team.  
  
We switch angles to see that all the Phoenix members are   
immediately following preplanned contingency procedures.   
Each member begins to destroy reports and technical   
equipment. Samuel and Trenchcoat Man begin making their   
way towards the opposite end of the warehouse. Meanwhile   
the attacking force make their way down to the work area,   
executing every phoenix member they see. We see that even   
though they are being massacred, each member seems to   
follow their final duties to the end, with no care for   
their own lives.  
  
Samuel and Trenchcoat are walking through the back area of   
the warehouse, pass the group of 4 remote viewers who are   
each being executed by phoenix members with cyanide  
injections. After that they begin to destroy all the   
sketches that the viewers had drawn. We see Trenchcoat   
with a gun in hand, cover the exit for Samuel through a   
hidden backdoor. Trenchcoat then activates a incendiary   
device which ignites a series of minor controlled   
explosions within the complex, which in turn begin to torch   
the whole inside of the warehouse.  
  
We switch angles to the burning area inside of what used to   
be The Phoenix Group work area. Fires are burning all   
over. The assault team that just attacked the place stand   
inside watching the warehouse burn. The bodies of dead Phoenix  
members lie around the burning room. The tactical team all stand   
in a circle around one team member in particular, who appears to   
be their leader. The leader of the group then puts his gun   
down and proceeds to remove his helmet and mask off. We   
see that he is a man in his late 30's with black hair. One   
of the team members walks up to him from the back of the   
warehouse.  
  
TAC TEAM MEMBER #1  
(handing over a   
burnt drawing to   
him)  
They had a projection team. They're   
all dead. Everything is torched.  
  
TAC TEAM LEADER  
(taking the   
drawing)  
No. Samuel is still alive.  
  
Sirens can be heard in the distance. The assault group   
takes notice.  
  
TAC TEAM LEADER (CONT'D)  
Move out and initiate a search grid.   
NOW.  
  
All tactical team members move out in a hurry. Their   
leader remains behind looking over the sea of burning   
bodies and equipment. He then looks down to the burnt   
drawing in his hand. It shows a partial burnt image of the   
Phoenix Staff. A deep look of hatred fills his eyes. He   
then tosses the drawing into a nearby fire and proceeds to   
walk out of the warehouse. Police sirens can be heard   
getting closer and closer.  
  
CLOSE ON - BURNING DRAWING  
  
FADE OUT.  
  
ACT FOUR.  
  
FADE IN:  
  
INT. NSA OFFICE, SEATTLE - DAY  
  
We see Doe with his hands crossed looking out the 11th   
floor window of a Federal building where the NSA keeps   
offices. Doe is alone in a conference room with a table   
and 12 empty chairs. Then the door opens and Sam Clarkson   
walks in with papers in hand. Two young associates of his   
walk in with him. Doe turns and sees Sam take a seat   
across the table with his two men standing behind him. Sam   
then proceeds to open his files and lay all kinds of   
pictures and reports on the table. Doe just stands there   
watching and waiting for Sam to begin either his debriefing   
or interrogation.  
  
SAM CLARKSON  
(placing pictures   
on the table)  
5 years. Over 1 million man   
hours. Surveillance photos,   
wiretaps, and about thousand dead   
ends. All in pursuit of this   
mysterious group of people.  
  
Sam has a serious stare on his face.  
  
SAM CLARKSON (CONT'D)  
The infiltration at the Copper mine   
was supposed to be the payday of   
this whole operation.....Instead all   
we have are more questions and about   
22 dead bodies.  
  
Doe stares at Sam with a stern face.  
  
JOHN DOE  
What do you want from me?  
  
Sam looks at both his associates then back at Doe.  
  
SAM CLARKSON  
You know what we want.  
  
Doe turns and looks out the window again.  
  
JOHN DOE  
I'm not joining your operation. You   
know everything I know about this   
people. You said you have some new   
information, that's should be enough   
to continue your operation.  
  
SAM CLARKSON  
What we have are bits and pieces of   
a puzzle. We've been able to   
determine that they were using   
Theresa and Michael as remote   
viewers. They were using a slide   
show of images as a stimulus to   
influence their abilities.  
  
With that, Sam takes a remote control in hand and points it   
to a television screen on the wall. A series of images   
begin to appear, changing once every few seconds.  
  
SAM CLARKSON (CONT'D)  
This images did not make much sense   
to us. Some where surveillance   
photos of you. And others, seemed   
to center around pictures and   
drawings of the Phoenix. One   
in particular. This is a specific   
image of what looks to be some kind   
of imprint on some type of piece of   
cloth or shroud. This was the most   
prominent one of the lot.  
  
Doe stares at the image of the Phoenix shroud that is   
paused on the screen.  
  
JOHN DOE (B/W P.O.V.)  
  
---Color image of the shroud being shown onn the tv screen.   
Everything else around it is in black and white.  
  
Doe's eyes widen as he recognizes the faded image of the   
Phoenix staff with the image of the real staff in his   
dreams of late. A sense of fear begins to come over him.   
It is clear to him that he is being guided somehow. But he   
doesn't understand where or by what exactly.   
  
SAM CLARKSON (CONT'D)  
This image means something to you   
doesn't it?..Its the Staff...The   
artifact you mentioned to us before.   
Isn't it?  
  
JOHN DOE  
(with a serious   
look)  
Yes.  
  
SAM CLARKSON  
And you said that they expect you to   
use this artifact to complete THEIR   
destiny?....What does that mean?  
  
JOHN DOE  
I don't know. Some type of   
prophecy.  
  
Sam looks on, then takes out to yellow pieces of paper   
inside evidence bags. Each showing a drawing of the   
Vatican Dome.   
  
SAM CLARKSON  
Well, whatever this Staff is. They   
seem to think that they'll find it   
in The Vatican.  
  
JOHN DOE  
Rome? Is that where they are?  
  
SAM CLARKSON  
We think so. We are already working   
with the Italian government on this.   
We're keeping our eyes open.   
Nothing so far.  
  
Doe looks down with his hands resting on his hips. Sam   
pulls out other pictures. This ones showing what looks to   
be tatoos in the back of cadavers' heads. The tattoos are   
of a circular image of a red bird.   
  
SAM CLARKSON (CONT'D)  
We're definitely dealing with some   
pretty determined people John. Who   
seem to believe in their cause   
totally and without question.   
Willing to die if necessary to keep   
their secrets. We believe that they   
are much more than just a group of   
fanatics. More like a cult. With   
unlimited resources all over the   
world and willing to kill or die for   
their believes.   
  
Doe leans in and takes the picture of the cadaver's head.   
Then looks back at Sam.  
  
SAM CLARKSON (CONT'D)  
They are very good at deceit and   
staying out of site when it suits   
them. They can be anyone, anywhere.   
But you know that already don't   
you?.  
  
Doe tosses the picture back on the table. And walks back   
towards the window with his arms crossed.  
  
JOHN DOE  
If you're trying to make your point   
about Digger, you already made it,   
Ok? I should have told you I saw   
him at the mine. I get it.   
  
Sam looks back at his colleagues again, then prepares to   
say something else.  
  
SAM CLARKSON  
I wasn't talking about Digger John.  
  
Doe looks back at Sam with a look of confusion at first.   
But then his look turns to one of contempt.  
  
JOHN DOE  
Now you wait a minute. Theresa is a   
victim here. You know that.  
  
SAM CLARKSON  
Is she? How sure are you about   
that?  
  
JOHN DOE  
POSITIVE!! She has nothing to do   
with the Phoenix Group, and I   
believe her.  
  
SAM CLARKSON  
Why? Because she told you?..You   
don't seem to understand that this   
group specializes in the art of   
lying and impersonation.  
  
JOHN DOE  
(shaking his head)  
No...Not her.  
  
SAM CLARKSON  
John. I truly hope we're wrong   
about her. But ask yourself. What   
do you really know about her?  
  
Sam pulls out another set of papers. Doe is pacing around   
the room.  
  
SAM CLARKSON (CONT'D)  
The name she used in the Hospital,   
Kirkland? Is fake.  
  
JOHN DOE  
(in a stern voice)  
She told me already. You're wasting   
your time.  
  
SAM CLARKSON  
Did she tell you that there is no   
evidence of her existence before 3   
years ago?  
  
JOHN DOE  
Stop this. You don't understand.  
  
SAM CLARKSON  
Then MAKE me understand John.   
Because she has no record since   
before the new millennium. And I'll   
give you one better.  
  
Sam flips the pages on the documents in his hands.  
  
SAM CLARKSON (CONT'D)  
We analyzed the prints that were   
taken from her at the Hospital, and   
guess what?  
  
Doe stops pacing and waits for Sam to continue.  
  
SAM CLARKSON (CONT'D)  
It seems we were able to match her   
palm print to the print of a 9 year   
old girl who died of brain cancer   
over 20 years ago.  
  
Sam looks at Doe, who ponders on what he is hearing.  
  
SAM CLARKSON (CONT'D)  
But the best part, the part that has   
really stumped us is the fact that   
her FINGER prints do not match that   
little girl. There are no   
documented cases of this kind of   
print match. We checked.  
  
Doe turns and looks out the window again.  
  
SAM CLARKSON (CONT'D)  
So either this is a first. Or!   
Your Theresa has had her   
fingerprints altered in order to   
fake her own death.  
  
Doe turns to Sam with a concerned face.  
  
JOHN DOE  
What was the girl's name?  
  
SAM CLARKSON  
(looking at his   
file)  
Theresa Ann Mathews.  
  
Doe sighs, showing his frustration.   
  
SAM CLARKSON (CONT'D)  
What does that tell you John?  
  
JOHN DOE  
(with a   
contemptuous stare)  
That this meeting is over.  
  
Doe proceeds to walk out of the room, but one of Sam's   
colleagues gets in his way. Doe stops right on the man's   
face. Doe stares at him, waiting for him to move.  
  
SAM CLARKSON  
(looking at his   
files)  
Think about what you're doing John.   
Think real hard.  
  
Doe looks down to Sam who is still sitting at the table.   
Then he stares back at the young man in his way. Doe then   
lunges at him and grabs him by his collar and forces him   
against the wall. The other NSA operative immediately   
grabs Doe from behind.  
  
SAM CLARKSON (CONT'D)  
(standing up)  
LET HIM GO!!  
  
Both NSA men immediately stop struggling with Doe and   
proceed to let him walk out. Doe pauses for a few seconds   
then opens the door and walks out. Sam stares at his two   
colleagues, then back down to his files in frustration.  
  
EXT. FEDERAL BUILDING - DAY  
  
The front door to the building opens and we see Doe walk   
out. As Doe begins walking across the square in front of   
the building, we see Sam come out of the building and   
sprint to catch up to Doe.  
  
SAM CLARKSON  
You're not making things easy for me   
John.  
  
JOHN DOE  
(still walking   
away)  
Look, I listened to what you had to   
say. I figured I owed you that   
much.  
  
SAM CLARKSON  
(following Doe)  
Thanks. Really I appreciate your   
candor. But I should tell you that   
my superiors have given me the   
authority to bring you and Theresa   
into custody.  
  
Doe stops and turns to look at Sam.  
  
SAM CLARKSON (CONT'D)  
I'm running out of excuses for you   
John. The NSA wants me to arrest   
you, but I'm not, because my gut is   
still telling me I should trust you.  
  
JOHN DOE  
You do whatever you want to me, but   
you leave Theresa alone.  
  
SAM CLARKSON  
I can't do that John. You and her   
are the only links we have to the   
this group. You don't want to work with   
us, fine. But you leave me no   
choice but to put you and Theresa   
under full time surveillance.  
  
Doe's frustration is very apparent. He realizes that he   
has no way to fight this at this time.  
  
JOHN DOE  
Fine. Why should you be any   
different from them?  
  
Doe turns and begins to walk away. Sam does not follow as   
he watches him cross the street. Sam looks frustrated as   
well. We pull back to see the entire street full of people   
walking about, and Sam still standing at the same spot.  
  
CUT TO:  
  
INT. FATHER DOMINICK'S ATTIC, ITALY - NIGHT  
  
We see Dominick climb up to the attic from the floor door,   
followed by Corso. Dominick hands his friend the flash   
light. Corso immediately begins to shine the light all   
over the attic. Looking around at Dominick's secret vault   
of antiquities.  
  
(Italian Translation Begins)   
  
CORSO  
(looking around in   
amazement)  
My God. I always thought you had a   
room like this. But I never   
expected to see what I'm seeing.  
  
Dominick walks towards the back of the attic.  
  
FATHER DOMINICK  
(looking back at   
Corso)  
Come......This way. Hurry.  
  
Corso continues to marvel at Dominick's secret treasure as   
he follows the old priest to the back of the room. They   
both stop on a table with a long wooden case. Dominick   
looks at the case, then at his friend Corso, who has also   
taken notice of it.  
  
FATHER DOMINICK (CONT'D)  
This is the reason I asked you here   
tonight.  
  
Corso shines the light on the case. He sees the glass   
cover and begins to runs his hand over the glass. He   
examines the case closely with his hands, using his   
knowledge of wood carvings and artwork of different   
cultures.  
  
CORSO  
(looking at the   
case)  
This looks like African Rosewood.   
Its beautiful. How old is this?  
  
FATHER DOMINICK  
Centuries. But look inside of it   
Corso. What's inside was old when   
the Earth was new.  
  
Corso stares at the old priest for a few seconds, then he   
proceeds to look through the glass. He sees the Phoenix   
Staff. Time seems to slow down as Corso appears to be   
pulled in by the ancient artifact.  
  
CLOSE ON - THE PHOENIX STAFF   
  
CORSO  
(mesmerized)  
What is this Dominick?  
  
FATHER DOMINICK  
It has many names. You should feel   
fortunate, for only a few have ever   
been this close to it.  
  
Corso still can't get his eyes off of it. Dominick crosses   
his arms and walks towards his attic window. He looks out   
to see the night sky over the Vatican Dome in the distance.   
The priest's eyes show a sense of reckoning. Corso finally   
looks up towards Dominick.  
  
CORSO  
Why have you brought me here? I....   
don't understand what you want of   
me.  
  
Dominick looks down with a slight smile and turns towards   
his friend.  
  
FATHER DOMINICK  
You're right. Before you can take   
on this burden, you must understand   
its importance.  
  
The priest's eyes well up a bit as he continues.  
  
FATHER DOMINICK (CONT'D)  
Please understand, if I were 10   
years younger I would not be putting   
you through this. But I have no   
choice. You're the only I can trust   
now.  
  
CORSO  
Dominick what....  
  
FATHER DOMINICK  
(gesturing to   
Corso)  
Please...Just listen.....I will tell   
you what was told to me the day that   
I became the keeper of this ancient   
object.   
  
Dominick then walks to the wall and stares at a cross   
hanging there. Corso looks on, waiting for his next words.  
  
FATHER DOMINICK (CONT'D)  
Throughout known history, mankind   
has struggled to define itself. To   
find meaning in our existence. Most   
of us rely on faith of religion to   
go on living. We want to believe in   
something bigger than ourselves.   
Simply because there HAS to be   
something more than this thing we   
call life.  
  
Dominick points out the cross to Corso who glances at his   
old friend with a sense of intrigue.  
  
FATHER DOMINICK (CONT'D)  
However, there are others who don't   
believe in such a divine outlook of   
life. They believe life is merely   
an accident of nature. A momentary   
lapse in a universe full of chaos.   
So... our whole history has   
consisted of the conflict between   
this two points of view. One   
looking for a divine plan, the other   
for mere coincidences in reality. Sprouting   
the creation of religion and   
science. The two ends of a   
spectrum.  
  
The old priest walks closer to the Phoenix Staff. He   
glances over it.  
  
FATHER DOMINICK (CONT'D)  
There's an old proverb that I've   
always enjoyed. It states that FACT   
is the enemy of FAITH, and never the   
two shall meet.  
  
Corso still looks on, waiting for Dominick to make his   
point.  
  
FATHER DOMINICK (CONT'D)  
Ironic when you think about it. For   
you and I represent the two ends of   
the spectrum. And this,  
(placing his hand   
on the wooden case)  
Is where FAITH AND FACT will meet.  
  
CORSO  
Dominick. What is this thing? Why   
are you acting this way?  
  
Dominick looks to his old friend with a sense of   
revelation.  
  
FATHER DOMINICK  
This is the answer to all of   
mankind's founding questions. Where   
did we come from? Are we alone in   
the Universe? What is the meaning   
of Life? Does God exists?  
  
Corso eyes widen at Dominick's truthful tone.  
  
FATHER DOMINICK (CONT'D)  
Most of us think that the reason   
we've been asking these questions is   
because we've never had the answers.  
  
Dominick looks at Corso with an intent stare.  
  
FATHER DOMINICK (CONT'D)  
But what if I told you that the real   
reason is because we forgot them.   
That mankind once knew all the   
answers to the these questions, but   
that we were made to forget them to   
keep us from destroying ourselves.  
  
Corso leans against a stacks of books behind him. His face   
radiates obvious disbelief. The old priest stares at his   
friend. Corso then notices that the priest is holding a   
stone cross in his hand.   
  
FATHER DOMINICK (CONT'D)  
(smiling)  
You don't believe me....It's all   
right. I didn't believe it at first   
either. I didn't want to believe   
it. It went against everything I   
stood for. Then I felt the power of   
the Staff. After that, I became its   
keeper. A protector against those   
who would come for the staff once   
they learned of its meaning.  
  
Corso still has a look of disbelief.  
  
CORSO  
(shaking his head)  
I'm sorry Dominick. This is not   
enough for me. You said it   
yourself, I'm a man of science. I   
look at the facts. And you haven't   
shown me anything other than just a   
very impressive private collection.   
All I see is someone who seems to be   
scared of something. I want to help   
you. But you'll have to do better   
if you want to convince me.  
  
Dominick stares at his old friend, still holding the stone   
cross in his hand.  
  
FATHER DOMINICK  
I know. You'll have to see what I   
saw 40 years ago. Its the only way.  
  
The old priest suddenly raises the stone cross and SMASHES   
the glass cover protecting the Phoenix Staff. After the   
loud crashing sound, shards of glass cover the now exposed   
artifact. Corso is stunned as he watches Father Dominick   
calmly put the cross down and clear the shattered glass   
from the staff. Corso moves closer to get a better look at   
the strange object. We switch angles and see a clear view   
of the Phoenix Staff. It looks to be carved out of some   
type of bronze or copper metal.  
  
CORSO  
(staring at the   
staff)  
Why did you have to do THAT for?  
  
FATHER DOMINICK  
(calmly)  
If you look closely, the case never   
had a lock to open. It was made to enclose   
the staff, so that no one would   
touch it by mistake.  
  
CORSO  
Why?  
  
FATHER DOMINICK  
Hard to explain. You have to see   
for yourself.  
  
Dominick finishes cleaning the glass to the side and then   
proceeds to stand aside.  
  
FATHER DOMINICK (CONT'D)  
(looking at Corso)  
Go ahead. Feel its texture.  
  
Corso looks at Dominick with a confused stare. Dominick   
gestures to him to go on. Corso then, with small   
hesitation, proceeds to lay his hand on the carving of the   
Phoenix which adorns the staff. Dominick watches his   
friend closely, expecting something. After a few seconds   
of Corso feeling the carving on the staff, his eyes appear   
to focus on something. Not on the staff, but instead on   
something beyond. His mouth opens as he appears to be   
having some type of vision.  
  
DR. CORSO (INT P.O.V.)  
  
---The landscape of a beautiful stone city,, with incredible   
architecture. Panning around we see that it is surrounded   
by a beautiful green forest and an immense waterfall   
cascading from a giant green mountain. The waterfall is   
feeding a river which runs straight through the middle of   
this city. The ocean can be seen in the far distance.  
  
---Fire balls raining from the sky. Earthqquakes, Tornadoes   
and giant walls of water consuming the once beautiful city.  
  
---Images of moving clouds over mountains. Ocean waves   
crashing. Rivers of Lava flowing. Bright orange flames of   
fire. Image of a figure surrounded by light   
  
---Fast forward to flashing images of otherr more   
recognizable civilizations. The Incas, Mayans, Egyptians,   
Romans. All flashing through rapidly like some movie.   
With sounds of different languages.  
  
---Fast forward to flashing images of horriible things.   
Death, famine, natural disasters, modern warfare. A   
blinding Nuclear Explosion  
  
CLOSE ON - CORSO'S FACE  
  
We see that his eyes are wide open as his mouth. His head   
begins to shake mildly as blood begins to trickle down his   
nose. We pull back and see a pair of old hands take hold   
of him and push him back. We see his hand leave the touch   
of The Phoenix Staff.  
  
We switch angles to see Corso fall to the ground with   
Dominick attempting to slow his fall. Corso's hands shake   
as his gaze comes back to reality and takes notice of   
Dominick kneeling on the ground in front of him.  
  
FATHER DOMINICK (CONT'D)  
(looking at Corso)  
Are you all right?  
  
CORSO  
Wha....What....How?  
  
FATHER DOMINICK  
I'm sorry Corso. But you had to see   
and feel its power. If just for an   
instant. So you would be able to   
understand.  
  
CORSO  
(still shaking)  
I feel....like my blood is burning.  
  
FATHER DOMINICK  
Any longer, and you would have died.  
  
CORSO  
But...why?....How's this possible?  
  
FATHER DOMINICK  
The staff is only meant for one   
person to wield. It would kill any   
other who tries to use it. .  
  
Dominick helps Corso to stand. Corso stumbles a bit as he   
gets his bearings. Dominick hands him a piece of cloth so   
he can wipe the blood from his face.  
  
CORSO  
(panting slightly)  
I saw...a city, civilizations,...as   
clear as day.  
  
FATHER DOMINICK  
I know. I saw the same things a   
long time ago.  
  
CORSO  
(sounding agitated)  
What happened Dominick? What is   
this thing? How can this be?  
  
Dominick grabs an old leather journal sealed by a leather   
string.  
  
FATHER DOMINICK  
(looking at Corso)  
I can't tell you any more now.   
We're out of time.  
(gesturing to the   
journal)  
Everything you need to know is   
written here. It is in italic code,   
but you can decipher it as I did.  
  
CORSO  
Wait. Why are you telling me all   
this? Why me?  
  
FATHER DOMINICK  
Because....Others have found the   
staff. They are here, in Rome. I   
saw them. People who want to   
control its power. I was told that   
it could happen one day. And that   
it would be up to me to decide what   
to do next.  
  
CORSO  
But how do you know these people are   
after it?  
  
FATHER DOMINICK  
The same way you will. You have   
touched the staff. You've been   
given something that will let you   
know when someone is after it.  
  
Dominick hands the leather journal to Corso, then takes a   
large piece of cloth and proceeds to pick up and wrap the   
Staff with the cloth.  
  
CORSO  
But what if these people you speak   
of, just want to study it? How do   
you know their intentions?  
  
FATHER DOMINICK  
(turning to Corso)  
Because it is only meant for one   
person. The Veritas. The truth   
seer. The true master of the Staff.   
No one else.   
  
Corso looks confused.  
  
FATHER DOMINICK (CONT'D)  
This being, the Veritas, will be   
drawn to the Staff. It will call to   
him. You will be able to see his   
true essence. And when he comes, he   
will fulfill his destiny. As it is   
written.  
  
Dominick picks up the Phoenix Staff and carries it towards   
the attic door. Corso follows.   
  
CORSO  
You still haven't told me why you   
want ME to take this from you.  
  
Dominick stops at the attic door and turns to Corso.  
  
FATHER DOMINICK  
I chose you because you have always   
dealt with the importance of human   
history. Because you have no real   
home. You're always traveling. You   
have contacts all over the world, so   
you can easily disappear. And most   
of all, because you are my friend.  
  
Corso stares at the old priest with a sense of realization.  
  
FATHER DOMINICK (CONT'D)  
Now...the time for questions is   
over. You must leave tonight with   
the Staff. Take the journal, study   
it. It will all make sense, I   
promise you.....Can I trust you will   
do this for me?  
  
Dominick with the concealed Staff in hand waits for Corso's   
acknowledgment. Corso hesitates for what seems like   
forever while wiping the sweat from his forehead.   
  
CORSO  
(nodding slightly)  
I'll do it. I must be out of my   
mind, but I'll do it.  
  
(Italian Translation Ends)   
  
Dominick smiles at his old friend. Both men then proceed   
to walk down the attic door.  
  
CUT TO:  
  
EXT. ROMAN STREET - NIGHT  
  
Police cars and fire trucks can be seen blocking an ally   
behind an Italian bakery. Firemen are trying to keep the   
fire under control, while police officers direct traffic.   
About a block away we see two dark vans with tinted windows   
turn the corner one after the other, away from the   
commotion.  
  
INT. 1ST DARK VAN - NIGHT  
  
The man we know to be the Leader of the Tactical assault   
team that just attacked the Phoenix Group is seated in the   
passenger side. He looks on the rear view mirror at the   
emergency vehicles left behind. Then he takes out what   
looks to be a cell phone and punches a series of numbers,   
waits for a special tone, then punches another series of   
numbers. He then puts the phone to his ear. After line   
connection sounds are heard, a voice answers.  
  
MYSTERY VOICE (From Phone)  
Report.   
  
TAC TEAM LEADER  
(into phone)  
Line secure. We engaged target.   
Evident viewer activity found.   
Neutralized operation. Big bird   
slipped away.  
  
MYSTERY VOICE (From Phone)  
Did they find the item?  
  
TAC TEAM LEADER  
(into phone)  
Unknown. Looks like they got a hit.  
  
MYSTERY VOICE (From Phone)  
The Vatican?  
  
TAC TEAM LEADER  
(into phone)  
It appears so. We're conducting a   
grid search of the city.  
  
MYSTERY VOICE (From Phone)  
Useless Now. We lost our element of   
surprise. He'll disappear again.  
  
TAC TEAM LEADER  
(into phone)  
I know. He still has the advantage.   
What do you want to do?  
  
MYSTERY VOICE (From Phone)  
Come home. We may have a lead on   
The Veritas.  
  
TAC TEAM LEADER  
(into phone)  
Who from?  
  
MYSTERY VOICE (From Phone)  
The NSA. You're going to Seattle.  
  
TAC TEAM LEADER  
(into phone)  
Acknowledged. End Transmission.  
  
The Team leader closes his cell phone.  
  
TAC TEAM LEADER (CONT'D)  
(to the driver)  
Pack it up.  
  
TAC TEAM MEMBER #1  
Yes sir.  
  
As the driver speaks into his communicator, the Team Leader   
rest his chin on his hand as he looks out the window,   
pondering the recent turn of events.  
  
CLOSE ON - TEAM LEADER'S FACE  
  
CUT TO:  
  
EXT. FATHER DOMINICK'S HOME - NIGHT  
  
The young man who's been keeping a watch on Dominck is   
standing near the priest's house. Watching from the bottom   
of the hill. In the distance, the young man reacts as he   
hears police and emergency vehicle sirens. He reaches into   
his jacket pocket and pulls out a small device with a   
keypad. He stares into it as he punches the keys.   
Suddenly a hand touches his shoulder from behind. The   
young man is startled as he turns and sees Trenchcoat Man,   
looking a bit dirty as if he just crawled out of a sewer.  
  
YOUNG MAN (In Sign Language)  
(after putting away   
his communicator)  
Sir. I've lost contact with Base.   
What happened?  
  
TRENCHCOAT MAN (In Sign Language)  
That's not important. Is the priest   
inside?  
  
The young man notices Samuel walk out of the nearby shadows   
looking at them.  
  
YOUNG MAN (In Sign Language)  
He's inside. He has a visitor.  
  
Trenchcoat then turns to Samuel who has been reading their   
conversation. They both await for Samuel's command.   
Samuel moves his gaze up the hill to Dominick's home. He   
then glances back at his two followers.  
  
CUT TO:  
  
INT. FATHER DOMINICK'S HOME - NIGHT  
  
Father Dominick is busy tying a rope around the white   
shroud that engulfs the Phoenix Staff. Corso is putting on   
his jacket, with the old journal in his hand. Both men are   
standing in the middle of the downstairs living room.  
  
(Italian Translation Begins)   
  
CORSO  
How long do you want me to keep this   
thing? Where do you want me to take   
it?  
  
FATHER DOMINICK  
(tying the last   
knot on the rope)  
I don't know how long. And don't   
tell me where you're going. Just   
keep moving. Do what you do best.   
Stay on the road. Study the   
journal. Wait for your next move.  
  
Dominick then picks up the staff and turns to Corso.   
  
CORSO  
Dominick, this is crazy. If this   
people you fear found you, they will   
surely find me.  
  
FATHER DOMINICK  
(handing the staff   
to Corso)  
That may be, but we both have to try   
our best to keep it from them. I   
know the danger I'm putting you in.   
But believe me when I tell you.   
What you're holding in your hands is   
the most important piece in all of   
mankind's history. It knows our   
past, it guides our present and it   
controls our future. Now GO.   
Hurry!!  
  
Corso is being edged towards the front door by Dominick.   
The old priest then proceeds to look outside through his   
peephole to make sure the coast is clear. We then see   
Dominick's eyes widen in fear.  
  
We switch angles to see what the priest is looking at   
through the door. He is seeing the silhouette of 3 figures   
slowly walking up the ramp to his home. The 3 people are   
walking side by side, covering the width of the road.  
  
We then see Dominick immediately close the peephole and   
turn towards Corso in a hurry.  
  
FATHER DOMINICK (CONT'D)  
(looking at Corso)  
My God! They're here.  
  
CORSO  
(with a worried   
face)  
What do we do now?  
  
(Italian Translation Ends)   
  
CLOSE ON - FATHER DOMINICK'S WORRIED FACE  
  
EXT. FATHER DOMINICK'S HOME - NIGHT  
  
We see Samuel slowly walking up to the house with   
Trenchcoat and the young man at each side. They are   
looking around to make sure that no one is watching them.   
Each of them is holding an automatic gun with a silencer in   
one hand. As Samuel gets to the front door, Trenchcoat and   
the young accomplice take positions on either side. Samuel   
raises his left hand slowly and touches the door lightly.   
Samuel then closes his eyes, as if trying to feel something   
more than the door. After a few seconds Samuel takes his   
hand away from the door.  
  
SAMUEL  
(looking at the   
door)  
There are two of them. They know   
we're here.  
  
Trenchcoat and the young man acknowledge and get ready to   
follow Samuel's lead. Without taking his eyes of the door,   
Samuel takes one step back, points the gun at the door with   
his right hand and fires 3 quick shots, destroying the   
lock. After that, Samuel plants one foot firm on the   
ground and busts the door open by kicking it in with his   
other foot. Samuel steps back and Trenchcoat rushes in   
with both hands pointing his gun forward. As the young man   
then proceeds to follow him in, Samuel puts his hand on his   
underling's chest, stopping him in his tracks.  
  
SAMUEL (CONT'D)  
(to the young man)  
Watch the front. No one leaves.  
  
The young man immediately complies and Samuel walks inside.  
  
INT. FATHER DOMINICK'S HOME - NIGHT  
  
Trenchcoat has his back against the inner entrance wall   
overlooking the living room of the house. Samuel calmly   
walks in behind Trenchcoat assessing the situation. After   
looking around the corner Samuel walks into the living room   
slowly. He's looking around as Trenchcoat provides cover   
for him with his gun raised. Samuel's gun is pointed down.   
Both men look around the old place, absorbing the entire   
panorama of antiquities that lie all around.  
  
Samuel then notices a figure seated near the window across   
the living room. The figure is of Father Dominick who is   
seated facing the 2 men. Samuel walks towards him slowly   
with Trenchcoat still looking around covering Samuel's   
back. Dominick has a cup of tea in his hand as he watches   
Samuel walk closer to him and stop about 2 feet away.  
  
(Italian Translation Begins)   
  
SAMUEL  
(with a smooth   
tone)  
Good evening Father. Please forgive   
our intrusion. Hope you still   
remember me?  
  
Dominick takes a sip of his tea, then lowers the cup slowly   
from his lips.  
  
FATHER DOMINICK  
(staring at Samuel)  
I know who you are. And, I know why   
you are here.  
  
SAMUEL  
If that's true, then you must know   
what I seek.  
  
(Italian Translation Ends)  
  
FATHER DOMINICK  
Ah yes. The Incas called it,   
Zozomoc. The Visigoths named it The   
Tulga. The Egyptians?, The Yaxum   
Balan. You probably know it as the   
Phoenix Staff. Handed down from the   
Phoenician dialects no doubt.  
  
Samuel looks at Trenchcoat Man standing behind him. Both   
men realize that they seemed to have found the right man.   
Samuel looks back at the old priest with a sly smile on his   
face.  
  
CLOSE ON - SAMUEL'S FACE   
  
CUT TO:  
  
EXT. FATHER DOMINICK'S HOME - NIGHT  
  
We see the young Phoenix Member outside standing watch. It   
is still pitch black. The sun is only a few hours away.   
We slowly move away from the young man at Dominick's door   
to a stone fence by the side of the road. We move over the   
fence and down to the sidewalk below. We keep moving along   
the sidewalk and come to rest on the figure of Dr. Corso,   
who is standing with his back against the wall. The   
Phoenix Staff and Dominick's journal are clutched to his   
chest. Corso is slowly moving forward.  
  
Corso has apparently gone out an old coal chute from   
Dominick's basement. His bushy long hair and beard are   
dirty with mildew. He's moving up the wall, below where   
Samuel's lookout is standing. Corso is out of site for the   
time being, but he still has a problem. He has to make it   
to the road and to his van which is parked in front of   
Dominick's house. We see Corso make it to the road and   
look up the hill towards Dominick's House. The good news   
is his van is parked facing down, so all he's got to do is   
get to it open the door and release the brake. Gravity   
will move the van down the hill without making too much   
noise. The bad news is that the young man standing guard   
is looking in the direction of the van, so as soon as it   
begins to move he will see and proceed to shoot first and   
ask questions later.  
  
After a moment of consideration, Corso decides to go for   
it. Apparently taking a chance on being able to sneak into   
his van without being spotted. Then he would proceed to   
let go of the parking brake and see what happens.  
  
INT. FATHER DOMINICK'S HOME - NIGHT  
  
We see Trenchcoat rummaging through Dominick's place.   
Knocking over stacks of books, shelves, chairs and   
artifacts. Samuel is still standing in front of Dominick.  
  
SAMUEL  
(glancing around   
the room)  
We know you're not alone. You're a   
man of the cloth. So you're not   
armed. Tell your friend to come   
out. This will all go much smoother   
is you comply.  
  
Dominick remains silent, glancing over at Trenchcoat and   
then at his ceiling. Samuel catches the priest's upwards   
glance, then gestures to Trenchcoat.  
  
SAMUEL (CONT'D)  
(to Trenchcoat)  
There's an attic. Find the door.  
  
Trenchcoat immediately hurries up the steps towards the   
second level of the house.  
  
FATHER DOMINICK  
(looking up at   
Samuel)  
You don't understand what the Staff   
can do. It is not for your hands.  
  
Samuel glances back at Dominick.  
  
SAMUEL  
I know more than you think. The   
Phoenix has risen. I'm just   
searching for what belongs to him.   
Fulfilling his destiny.  
  
FATHER DOMINICK  
No. I know what you people really   
want. You want to control the power   
of the Staff. But you can't control   
his master, so you're trying to find   
the Staff before he takes hold of   
it. So can control his destiny.  
  
Samuel smiles at the priest's accusation. He then looks up   
and sees Trenchcoat rummaging upstairs. We switch angles   
to see Trenchcoat turning over the bed and other furniture.   
He then makes his way to the closet and sees the latter   
leading up to the attic. Trenchcoat cocks his gun and   
proceeds to go up the ladder.  
  
EXT. FATHER DOMINICK'S HOME - NIGHT  
  
We see Corso slowly moving up the road towards his parked   
van. He's hunched down as he walks, fighting the weight of   
the Staff and the journal. He glances carefully past his   
van and sees that the young man has not seen him yet.   
Corso then manages to finally get to the front of his van.   
He keeps down out of site, still using the van as cover.   
We see that Corso is about to move to the driver's side   
door when he hears a police siren. The sound keeps getting   
louder as the police car apparently gets closer.  
  
We switch angles to see the young Phoenix member standing   
guard taking notice of the coming police vehicle. He's not   
sure what's happening so he begins to walk down the hill   
towards Corso's van to get a closer look at the coming   
police car. As he does so, the young man hides his gun   
around the back of his pants. We see that he is   
approaching Corso's blue V.W. van.  
  
Corso who is glancing at the coming police car is not sure   
what to do. He then takes a peek to see where the young   
man standing watch is doing. Corso is then shocked to see   
the young man heading down the hill towards him along the   
driver's side of the van. Corso notices just in time and   
quickly moves in the opposite direction, around the   
passenger side of the van. As he does so, the young man   
just passes the front of the van and walks a few more feet   
down the hill towards the main street. The police siren is   
getting closer and closer. Then the police car lights   
appear around the corner. The young man stops at the   
bottom of the road with one hand around his back touching   
his concealed weapon. Corso sees this as his opportunity   
to get into his van. He pulls out his keys carefully and   
opens the passenger side door.  
  
INT. FATHER DOMINICK'S HOME - NIGHT  
  
Samuel is looking around the downstairs living room. As   
Dominick watches on. The sounds of the police siren is   
then heard by both men, prompting Samuel to point his gun   
to Dominick.  
  
SAMUEL  
(to Dominick)  
Keep quiet and you might live   
through this father.  
  
INT. FATHER DOMINICK'S ATTIC - NIGHT  
  
Trenchcoat is in the upstairs attic looking around with a   
small flashlight he has taken out of his jacket. He is   
knocking things over, looking around in a hurry, for he too   
has taken notice of the approaching police siren.   
Trenchcoat keeps moving around the attic, until he takes   
notice of a long wooden case lying on a table. He quickly   
proceeds to it and shines his light on it. We switch   
angles to see the light shinning on the padded indentation   
of the unmistaken shape of the Phoenix Staff. Trenchcoat's   
eyes widen in the realization of his find.  
  
EXT. FATHER DOMINICK'S HOME - NIGHT  
  
The police car is know approaching at a high rate of speed   
through the roman street. The young man stands at the   
bottom of the hill waiting for the next move.  
  
INT. DR. CORSO'S VAN - NIGHT  
  
We see Corso looking ahead as he is settling himself on the   
driver seat. He has closed the passenger side door without   
making too much noise. Through the windshield we the   
figure of the young man at the bottom of the hill and the   
police car approaching from the left side. The Phoenix   
Staff and the Journal can be seen on the floor of the van.   
We now see Corso with both hands on the wheel, he has   
placed the keys on the ignition but has not started the   
engine yet. He watches in anticipation at will happen in   
the next few seconds. Waiting for an opportunity that may   
or may not come.  
  
EXT. FATHER DOMINICK'S HOME - NIGHT  
  
The police car now comes wheezing by the corner where the   
young man is standing. It completely passes by without   
even slowing down. Apparently a false alarm, since they   
were heading to another part of the city. We see the young   
man's face smile slightly in relief.  
  
INT. DR. CORSO'S VAN - NIGHT  
  
Corso sees the police car drive by without stopping. He   
realizes that it is now or never for him to make his move.   
We see his hands release the parking brake on his van and   
his foot moving off the brake pedal and his other foot push   
the clutch pedal. The Van begins to move.  
  
CUT TO:  
  
INT. FATHER DOMINICK'S HOME - NIGHT  
  
Samuel is pointing the gun at Dominick as he realizes the   
police are not coming. At that same moment he hears   
Trenchcoat running down from the upstairs attic, and   
through the upstairs floor. Samuel looks up.  
  
TRENCHCOAT MAN  
(from upstairs)  
IT WAS HERE!! THE OTHER ONE TOOK IT.  
  
CLOSE ON - SAMUEL'S FACE  
  
Samuel's eyes are filled with rage as he realizes he's been   
wasting his time. He looks over at Dominick.  
  
CUT TO:  
  
EXT. FATHER DOMINICK'S HOME - NIGHT  
  
We see Corso's blue van slowly moving forward as the young   
man turns from looking down the street and notices the Blue   
V.W. van coming right at him. Without hesitation the young   
man takes out his gun and points it at Corso.  
  
INT. DR. CORSO'S VAN - NIGHT  
  
We see Corso grimacing as he realizes he's too late. He   
sees the young man pointing the gun straight at him. In a   
last ditch effort to get away, Corso turns the key and revs   
up the van's engine. Corso then tries to get his head down   
to avoid getting shot.  
  
EXT. FATHER DOMINICK'S HOME - NIGHT  
  
The young man aims with both hands on the gun and squeezes   
the trigger. Suddenly what should have been the sound of a   
bullet firing turns into a "click". The gun has not   
jammed. A bullet was in the chamber ready to fire. But it   
just didn't. We see the young man realize this and freeze   
in his tracks for a second. But a second is all he has   
before Corso's van rams him head on. Sending his body   
flying a few feet and landing head first on the sidewalk.  
  
Corso's van then turns the corner and heads down the road   
as fast as the van can go.  
  
INT. DR. CORSO'S VAN - NIGHT  
  
We see Corso's head come up and look behind him. He sees   
the body of the young man on the sidewalk as he drives   
away. A look of confusion fills his face. He is not sure   
exactly what happened. As he continues to drive he looks   
down at the floor of the van and notices the covered   
Phoenix Staff.  
  
CLOSE ON - CORSO'S FACE  
  
Corso eyes show a sense of intrigue, as if wondering if the   
Staff had anything to do with his escape. He then glances   
at his rear view mirror and sees Dominick's house in the   
distance.  
  
(Italian Translation)  
  
CORSO  
(under his breath)  
Gods speed my friend.  
  
EXT. ROMAN STREET - NIGHT  
  
Corso's van heading down the dark roman street.  
  
EXT. FATHER DOMINICK'S HOME - NIGHT  
  
We see Trenchcoat man standing outside Dominick's house.   
He looks around and notices the van gone and the dead body   
of his young accomplice lying on the sidewalk. He then   
turns and hurries inside.  
  
INT. FATHER DOMINICK'S HOME - NIGHT  
  
Trenchcoat walks in from the entrance to the living room   
where Samuel is standing looking at him. Dominick still   
sitting behind him.  
  
TRENCHCOAT MAN  
(to Samuel)  
It's in the open. We have to go.  
  
Samuel raises his hand to his forehead in complete   
frustration. We see Dominick's face filled with relief.   
He understands now that his distraction tactic was a success.   
Samuel turns to look at the old priest. Trenchcoat walks up and stands   
next to Samuel.  
  
TRENCHCOAT MAN (CONT'D)  
(refiring to   
Dominick)  
What about him?  
  
Samuel is still looking at the priest with an evil stare.  
  
CLOSE ON - SAMUEL'S FACE  
  
SAMUEL  
We take him with us.  
  
We switch angles to show Dominick's face.  
  
FATHER DOMINICK  
(to both men)  
It has begun.  
  
CLOSE ON - FATHER DOMINICK'S FACE  
  
CUT TO:  
  
EXT. WHOLE LIFE RECOVERY CENTER - NIGHT  
  
We see Theresa standing outside the Recovery center, saying   
good-bye to members of her therapy group. She smiles as   
she hugs each of them as they leave the center. We then   
switch angles to see Doe's car turn the corner and slow   
down to a stop in front of the center. Theresa notices him   
as she says good-bye to her friend. She then walks over   
from the sidewalk onto the street and stops by the   
passenger side of Doe's car.  
  
THERESA  
(to Doe)  
Right on time.  
  
JOHN DOE  
(looking up from   
his car)  
Yeah. Ready to go?  
  
Theresa opens the door and gets in. We can see that Doe   
looks a bit distracted since he has been doing some   
thinking since she last saw him.  
  
THERESA  
(shutting the door)  
There's a deli down the road. I   
thought maybe some old habits might help   
jog your memory.  
  
JOHN DOE  
(revving up the   
engine)  
Why not?  
  
We see Does car drive down the road with both of them inside.  
  
CUT TO:  
  
EXT. JARMAN'S DELI - NIGHT  
  
CLOSE ON - SLOPPY SANDWICH  
  
We pull back to see Doe staring at an oversized sandwich   
with enough meat to fill 2 grown men. His face shows a   
look of disbelief. Theresa is eating a sandwich about as   
big as that one herself. A big smile fills her stuffed   
face.  
  
THERESA  
(chewing her food)  
Its the double salami giro. Your   
favorite.  
  
Doe stares at her with an open mouth.  
  
JOHN DOE  
You're kidding, right?  
  
Theresa begins to laugh at the silliness of the situation.  
  
THERESA  
(cleaning her   
fingers)  
I guess I was hoping something would   
come back to you.  
  
Doe smiles as well, but his face seems to be hiding   
something. A fact that is not lost to Theresa for long.  
  
JOHN DOE  
(smiling at the   
sandwich)  
Maybe there are things I shouldn't   
remember.  
  
Theresa continues to smile at the joke but her face begins   
to show some intrigue, sensing Doe's underlying mood.  
  
JOHN DOE (CONT'D)  
(covering the   
sandwich)  
So, I didn't know you were a   
qualified therapist.  
  
THERESA  
I mostly listen to their problems.   
Give them some suggestions in how to   
solve them.  
  
JOHN DOE  
You must have gotten some training   
in psychology.  
  
Theresa smiles at Doe's line of questioning. Knowing he is   
trying to find out more about her.  
  
THERESA  
I completed 2 masters. One in   
Psychology, and one in Sociology.  
  
JOHN DOE  
Really? Paid by The Soros   
Foundation?  
  
Doe sees her uneasy reaction to the mention of The   
Foundation.   
  
THERESA  
Yes.  
  
JOHN DOE  
(looking down in   
shame)  
I'm sorry, I just....I can't get   
away from it.  
  
THERESA  
It's Ok. I told you, I would tell   
you everything I know.  
  
JOHN DOE  
(shaking his head)  
No. This isn't the way. You said   
it yourself. They're everywhere.   
We're probably being watched right   
now.  
  
Doe looks around at the people around them.  
  
THERESA  
(touching Doe's   
hand)  
Hey...It doesn't matter. I'm not   
afraid. You need to know   
everything.  
  
JOHN DOE  
(caressing her   
hand)  
You're right. But I AM afraid. I   
can't risk anything happening to   
you. You've made a life here for   
yourself. I'm not going to stand in   
the way of that.  
  
THERESA  
But I WANT to help you.   
  
JOHN DOE  
I know. But the truth is, my   
memories have been taken from me.   
You can keep calling me Tommy and   
show me all the pictures you want.   
Its not going to change the fact   
that I can't remember Thomas   
Anderson. That I don't know who he   
was.   
  
Theresa stares at Doe, with a concerned look in her face.  
  
JOHN DOE (CONT'D)  
Worst of all, I don't remember you.   
I can't remember what we had.   
  
THERESA  
I can feel how hard this is for you   
Tommy. But shutting people out is   
not the answer.   
  
JOHN DOE  
I know, and I appreciate all your   
help. But lately I'm getting the   
feeling that if I don't find out   
what happened to me, and soon, there   
may......  
  
Theresa eyes show a look of concern. Doe hesitates, as he   
seems to be deep in thought. He notices other people   
walking and standing around. A sense of uneasiness fills   
him, as if anyone of those people could be watching and   
listening to them  
  
THERESA  
What.  
  
Doe looks at Theresa with a caring smile.  
  
JOHN DOE  
Nothing. I..uh..I think I better   
drive you home.  
  
Theresa stares at Doe with a sense of disappointment.  
  
CUT TO:  
  
EXT. SARAH'S HOUSE - NIGHT  
  
We see Doe's car pull up the suburban street and slow to a   
stop in front of Sarah's house. After a few seconds, Doe   
shuts down the engine and we see Doe and Theresa just sit   
in the car.  
  
INT. DOE'S CAR - NIGHT  
  
Doe stares straight ahead as Theresa looks at Doe with a   
sense of worry.  
  
THERESA  
You know. There are other ways to   
bring out repressed memories....Have   
you thought about...  
  
JOHN DOE  
I've done everything. Past regression,   
Hypnotherapy, Word association, even   
possible Blunt force trauma.  
  
Theresa realizes that Doe's case is something that may not   
have scientific explanation.   
  
THERESA  
So what are you going to do now?  
  
Doe listens to her words with a look of deep thought.   
After a few seconds he looks at Theresa intently.  
  
JOHN DOE  
I think,.. Something or Someone is   
guiding me towards a particular   
missing person's case.....I think I   
have to investigate it. To see if   
there's a connection between the   
victim and me.  
  
Theresa ponders his words.  
  
THERESA  
I wish you'll let me help you.  
  
Doe smiles at her offer, but shakes his head respectfully.   
Theresa looks down, showing her frustration and   
disappointment.  
  
JOHN DOE  
There...IS something I've been   
meaning to ask you.  
  
She looks up at him again.  
  
JOHN DOE (CONT'D)  
I haven't asked you about my family.   
My Mother? Father? Any Brothers or   
Sisters?  
  
Theresa smiles and stares up for a few seconds, thinking   
back a few years.  
  
THERESA  
(looking back at   
Doe)  
I asked Thomas once, about his   
childhood. He just said that that   
part of his life was over with. And   
there was no need to dwell in it....   
It made him sad to think about it.   
So I never brought it up again. I   
figured, he would tell me when he   
was ready. He never did.  
  
Doe smiles slightly feeling a sense of irony.  
  
JOHN DOE  
I guess Thomas had his secrets too.  
  
THERESA  
I'm not helping much am I.  
  
JOHN DOE  
(with a smile)  
You are, believe me. Most people   
never know if they would care for   
someone so much, that they would   
risk everything for that person.   
You helped me realized that I used   
to be someone like that.  
  
Theresa smiles at Doe's compliment. She then glances   
towards her house.  
  
THERESA  
If you change your mind. I'll be   
here if you need me.  
  
JOHN DOE  
I'll let you know what I find.  
  
With that Theresa leans over and gives Doe a kiss on his   
cheek. She then opens the her door and steps out. Doe   
stays inside the car. She closes the door, but keeps both   
hands on the door.  
  
THERESA  
You're taking a trip aren't you?  
  
Doe smiles as if he knows he can't hide anything from her.  
  
JOHN DOE  
(looking up at her)  
That's right.  
  
THERESA  
You won't tell me where?  
  
JOHN DOE  
You probably already know.  
  
THERESA  
(with a serious   
look)  
Maybe...Be careful Tommy. You may   
not like what you find.  
  
Doe smiles in a intriguing manner as he continues to be   
amazed at her intuition.  
  
JOHN DOE  
How do you do that?  
  
Theresa produces a smile.  
  
THERESA  
I'll see you when you get back.  
  
Doe nods in agreement. Theresa then turns and walks away   
towards Sarah's house.  
  
EXT. SARAH'S HOUSE - NIGHT  
  
Doe watches as Theresa reaches the house entrance. She   
turns to say one last good-bye. They smile at each other   
across the way as Doe turns on the engine of his car.   
Theresa then steps inside as Doe puts the car in gear and   
proceeds to drive off.  
  
INT. DOE'S CAR - NIGHT  
  
CLOSE ON - DOE'S FACE  
  
JOHN DOE (V.O.)  
She was right. If my dreams of late   
were any indication of what I would   
find, this missing woman's case may   
reveal some pretty horrible things.   
But I've decided. If I'm going to   
to find out who I used to be, I need   
to solve the puzzle that is been   
placed before me. It all seems to   
point to a woman who's been   
missing for more than 30 years. Is   
she connected to me somehow?  
  
CUT TO:  
  
INT. SEATTLE AIRPORT TERMINAL - DAY  
  
We see Doe walking through the terminal. He's walking   
through a crowd of air travelers coming to and fro. Doe is   
holding a carry on bag over his right shoulder. An   
airplane ticket can be seen on his other hand.  
  
JOHN DOE (V.O.)  
So now I'm getting ready to fly   
across a continent because of a   
dream. Logic would suggest that I'm   
being misguided by stress or past   
traumatic experiences.  
  
Doe makes it to his designated gate. He sees there is   
already a line of people getting ready to board, so he   
takes his place in line. The display above the gate door flashes  
"Flight 192 to New York Now Boarding"  
  
JOHN DOE (V.O.) (CONT'D)  
On the other hand, basic psychology   
teaches us that traumatic   
experiences can cause us to have   
repressed memories. If my so called   
condition is the result of some   
traumatic experience, then maybe   
this missing person's case might   
give me the some answers.  
  
Doe makes it to the ticket agent who's checking the   
tickets. After checking through, the agent gives him his   
ticket stub and we see Doe walk through the gate entrance   
towards his plane.  
  
CUT TO:  
  
EXT. BELLA LEON, ITALY - DAY  
  
THEME SONG BEGINS - ("I am the Highway" by Audioslave)  
  
"Pearls and swine bereft of me  
Long and weary my road has been  
I was lost in the cities  
Alone in the hills  
No sorrow or Pity for leaving I feel"   
  
We see a dirty blue V.W. Van driving on a dirt road. On   
one side we see the blue Mediterranean Ocean, on the other   
we see ancient brick homes along the coastline.  
  
INT. DR. CORSO'S VAN - DAY  
  
Corso has both hands on the steering wheel, looking at the   
blue ocean on his right side. He then glances down to his   
floorboard for a few seconds. Corso's eyes show a great   
sense of wonder, as he continues to drive along. We switch   
angles to see what he was looking at.  
  
CLOSE ON - PHOENIX STAFF WRAPPED INSIDE A SHROUD  
  
CUT TO:  
  
INT. COMMERCIAL AIRLINER - DAY  
  
THEME SONG CONTINUES - ("I am the Highway" by Audioslave)  
  
"Friends and liars don't wait for me  
I'll get on all by myself  
I put millions of miles  
Under my heels  
And still too close to you  
I feel"  
  
We move along the first class cabin slowly. An airline   
stewardess is going about her job. She stops on one   
particular seat, she says something to the passenger, then   
proceeds further down the cabin. We move closer to see who   
she was just talking with.  
  
The passenger is John Doe. He's looking at something on   
his lap. We switch angles to see that he's looking at a   
series of printed photographs. We switch angles to look at   
one of the photos. Bellow on the borderline, we see a   
typed label which says "Our lady of Perpetual Help Convent,   
Landsburg New York".   
  
CLOSE ON - DOE'S FACE  
  
JOHN DOE (V.O.)  
I feel like I'm embarking on a long   
journey. Not across country, but   
across TIME. I'm overwhelmed by a   
sense of longevity looming ahead of   
me. If this is the path I need to   
follow, then I'm about to take the   
First Steps.  
  
THEME SONG CONTINUES - ("I am the Highway" by Audioslave")  
  
"I am not your rolling wheels  
I am the highway  
I am not your carpet ride  
I am the sky  
I am not your blowing wind  
I am the lightning  
I am not your Autumn moon  
I am the night"   
  
We pull back and see Doe glance outside the airplane   
window, sitting by himself, pondering the road ahead.   
  
FADE OUT.  
  
The End.


End file.
